Steve Potter reviews Poetica Dystopia and I Feel Your Doughnut Pain by Stephen Roxborough

Where do poems exist? I thought about that and about reading versus listening and writing for the page versus writing for the stage while simultaneously reading and listening to poems by Stephen Roxborough. Fourteen poems on his fine new cd, Poetica Dystopia, also appear in his book, I Feel Your Doughnut Pain. I've heard people say they like poetry that lives on the page, marking a distinction between sit-and-read-silently-to-yourself poetry and performance poetry. I get that and would classify myself with poetry on the page over poetry on the stage if I really had to choose once and for all, but, in the end, no poem actually exists on the page or stage. They all only truly live in human minds. A poem comes to life in the mind of one human, the sort of human we, therefore, call a poet and is then transferred into the minds of other humans via written and/or spoken word. I think it was Charles Simic who opined that no poem is complete until it is read by someone other than the poet himself. It's the 21st Century, though, so let's change that to her/him/themself lest we exclude anyone. Furthermore, I'd add or heard after read.

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Cynthia R. Pratt reviews Bill Yake's WAYMAKING BY MOONLIGHT, New and Selected Poems

Bill Yake’s latest book of poems starts with the title poem, “Waymaking by Moonlight,” which sets the tone for, and brings us along with him, on his journey of language and metaphor. It is a trip over sometimes difficult terrain but allows the traveler to see what crosses our path at night, that which we often miss in the light. Looking up the definition of Waymaking, most dictionaries define it as providing a way, means, or solution (Yourdictionary.com). It’s important to keep this in mind since the title poem invites us on this journey. His bookend poem, “Heart Poem,” brings us back home, and recognizes we don’t have to be stepping on unstable rocks to be vulnerable.

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Frances McCue reviews Sati Mookherjee's EYE

Some poetry books lay out poems as if they were little fossils slotted into display drawers where a reader can marvel at them—opening and shutting pages—viewing poems in or out of order. Lyrics shape their own encounters. But I’m a reader who loves momentum. I relish connections that riff and shimmer, and encourage readers to piece together stories. Sati Mookherjee’s new poetry book, EYE, offers that sweet shimmer of beautiful lyrics and the riff and pacing of a poetic narrative. I am smitten by how readable the book is, how compelling the story is, and how beautifully crafted the individual poems are. To construct poems within a narrative arc, without overloading the freight of exposition onto individual lyrics, is really challenging. Mookherjee works magic here.

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Charles Goodrich reviews Mike O'Connor's OLD GROWTH: NEW AND SELECTED POEMS

In the photo on the cover of Old Growth: New and Selected Poems by Mike O’Connor, the poet stands beside the trunk of a massive Douglas fir tree in a Whitmanesque pose of ease and delight. Hiking boots, long pants and shirt, a wide-brim hat, a white-barked, hand-carved walking stick: he’s ready for a day in the woods. On his left wrist, a surprising combo: a woven Buddhist bracelet and a big wrist watch. And the man’s face: open, aglow, so plainly at home here. Is he smiling for the camera, or at the friend taking his photograph, or could that radiant delight be his default emotional state?

The testimony of the poems suggests that O’Connor lived a charmed life, an outdoor and outward-facing life. His poems are exoteric; plain-spoken illuminations of significant moments along his path

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Thomas Hubbard reviews Priscilla Long's Dancing with the Muse in Old Age

How old are you? Do you know somebody just half your age? Do you trust your own knowledge, your experience, yourjudgment, more than you trust that younger person’s? For your sake, let's hope so. Priscilla Long's new book, Dancing with the Muse in Old Age, delivers a litany of examples, anecdotes and statistics giving us good reason to view all ages through this same principle.

Despite most positions of ultimate responsibility in business and government being occupied by older adults, ageism pervades most of our culture. Note how many of us twist our language every which way to avoid calling ourselves orour associates old. In the introduction to her book, Long notes “Some [of us] insist that the word elderly and elders isrespectful, whereas the word old is not. Others make up terms, such as olders…”

Finally, in business the truth comes on the bottom line. If “NEW” on the packaging of soap, breakfast cereal or patent medicine is expected to increase sales, it becomes obvious that a large segment of the population holds a negative view of old. Priscilla Long is working to change that.

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Mary Morgan reviews Marian Birch's The Age of Reason

The Age of Reason, Marian Birch’s fascinating new novel, is set in rural Connecticut during the early 1950’s. The Brynn family lives in a rambling farmhouse dating back centuries. Edith Brynn, age 8, is the oldest child of atheist, intellectual parents. Her father Arthur, a passionate communist, teaches at a local college. He lives in fear of being fired or arrested for his political affiliations and beliefs. Her mother Kitt, also a college instructor, is the daughter of once aristocratic Russian immigrants who live in Manhattan.

Mary Morgan is a happily retired teacher who lives in the Olympic foothills near the Dungeness River on traditional lands of the S’Klallam people. Her poems, essays and book reviews have occasionally appeared in Rainshadow Journal, Lived Experience, the Madrona Project, the Port Townsend Leader and Voice of the Wild Olympics.

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Rob Jacques reviews A.E. Hines's ANY DUMB ANIMAL

Any Dumb Animal is about being different and learning to cope with that difference in spite of everything and everyone, about seeking out ways to touch and be touched . . . which is all any of us really need to keep living, keep creating, keep the faith with our fellow humans. Hines, too, aches for that touching in his life and, most rewardingly for us, in these poems.

Author Bio: A. E. Hines grew up in rural North Carolina and currently lives in Portland, Oregon. He has been published widely in poetry anthologies and literary journals.

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Kathleen Alcalá reviews Sasha taqʷšəblu LaPointe's RED PAINT

Sasha taq(w)šablu LaPointe is not Suquamish, but she is a descendant of two local tribes, the Nooksack and Upper Skagit tribes. To my delight, I discovered in the book that Sasha is the great-granddaughter of Vi taq(w)šablu Hilbert, a renowned storyteller who in large part helped recover the Lushootseed language of the coastal tribes before her passing in 2008. I interviewed Hilbert for an early issue of The Raven Chronicles, around 1991, and am continually struck by the importance of the role she played in language and cultural recovery. This is especially clear to me as I work with others of my tribe, the Ópata Nation, to recover and re-birth a language that has been all but obliterated by other languages and interests.

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Mary Morgan reviews Michael Daley's Telémachus

Michael Daley’s Telémachus is a timeless dream of a book that takes place in a town where boat builders, artists and writers, waitresses, tavern dwellers and ordinary neighbors mix in unpredictable ways.

Mary Morgan is a happily retired teacher who lives in the Olympic foothills near the Dungeness River on traditional lands of the S’Klallam people. Her poems, essays and book reviews have occasionally appeared in Rainshadow Journal, Lived Experience, the Madrona Project, the Port Townsend Leader and Voice of the Wild Olympics.

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Steve Potter reviews Maged Zaher's On Confused Love and Other Damages

Like an experienced stand-up comic, Maged Zaher knows to pause and let the audience laugh before he moves on to the next set-up and punchline. Like a good performance poet or storyteller, he knows to pause to let the audience experience the grief described vicariously before plunging on. Zaher's book is full of funny moments but also deeply sad ones. They often occur simultaneously. That is the nexus where so much magic happens in art. The Beatles' song "HELP!" came to mind while I read the book the second time. I remembered the day in childhood when I first paid attention to the lyrics, after hearing the song many times without focusing on them. I remembered the disjointed feeling when I realized how depressing the song was. How could such a sad song also sound so fun and upbeat at the same time? Zaher's book has some of that same quality – smiling through the tears, accepting the dark beauty of melancholy.

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Sibyl James reviews Benjamin Schmitt's THE SAINTS OF CAPITALISM

Benjamin Schmitt’s latest poetry collection is really two quite different books: a witty political/social satire of 21st century United States wrapped around a lush center of lyric poems filled with understanding and affection for the places and people inhabiting that country. Despite the humor, this is a real dystopia wending its way toward totalitarianism. Schmitt doesn’t name names but there’s a man “who audaciously believes / we’re not racist enough to vote against him,” and another who strode down a “golden escalator,” promising “a world that only he could bring back.”

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Kathleen Alcalá reviews Stephanie Barbé Hammer's PRETEND PLUMBER: AN ADVENTURE

This book is part exegesis, part coming of age, and part farce. It is full of self-absorbed people, institutions that reflect the same, well-meaning Jews, and even a little Kabbalistic magic.It also casts a light on the “things down below”—be they our personal plumbing, a secretly SM retirement home with senior ciizens dressed in black leather, angelic drug dealers, or unresolved family dynamics.

Because of Sarassine’s unrelentingly honest voice, this is probably best described as a YA book. Sarassine has a condition I’ve never heard of called dyspraxia, which makes it hard for her to learn certain things, and physically awkward. Those of us who survived adolescence might vaguely recall Sam’s experience of a first kiss, her willingness to forgive her parents for their non-parenting, and her openness to the many and varied characters that people Los Angeles today.

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Steve Potter reviews Steven Creson's BIG DAY, NEW AND SELECTED POEMS

Steve Creson's collection of thoughtful, introspective poems, Big Day, is arranged into five sections presented in reverse chronological order from 2020 back to 1988. The book ends with an afterword by Creson's long-time friend, the poet and multimedia artist, Jim Jones. Jones writes that:

Creson's lifelong project is to imagine how his past determines the quality of the unfolding present. As Kierkegaard remarked in his journal, 'Life can only be understood backwards, but it must be lived forwards.' The attentive reader, then, will not be surprised to find so many references to dates, days, and even specific hours and minutes. The poet tries to pinpoint experiences that have some bearing on what he is living as he writes each poem. The result is a kind of bilocation, a feeling conveyed to the reader of being in two places at the same time.

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Laura Lee Bennett reviews Carolyne Wright's Masquerade: A Memoir in Poetry

Carolyne Wright is a force of nature in these parts. Celebrated poet, essayist, “scholar gypsy,” teacher, editor, translator, and reader, she has traversed continents, cultures, and political landscapes. With Masquerade: A Memoir in Poetry, we have a gift of the poet at the peak of her powers looking back on her youth, incorporating the carnival culture of Mardi Gras and the jazz scene of New Orleans with her observations of local characters—the roller-skating, wedding veil-wearing Ruthie the Duck Lady, for example, “tough as a folded bird” in “Endecasyllabics: About the Women (Ruthie)”—as well as visits to her home state and the placid white culture there. She shares the story of a lost love with all the attendant sighs and confessions and pheromones.

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Michael Daley reviews Gary Thompson's Broken by Water, Salish Sea Years

The more I read Broken by Water the more I find myself stopping after one or two poems, putting down the book and saying, sometimes out loud—wow, these are really great poems! (I know, I know—I can hear you saying along with my old teachers: “What the hell kind of a way is that to start a review? Tone it down already.”) Still—one after another these poems carve out a masterpiece of praise. Each one slides neatly inside its columnar sheath—the form is at one and the same time action and observation which delivers real experience as each swing of a line brings its own tension, ships us out onto the wave pattern of the Salish Sea. The best “praise of place” poems give poets a chance to step out of the poem or to be a minor character. Yet the praises here deliver a poet’s range between joy in the paradise of the sea and terror in unexpectedly striking land.

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Diane Urbani de la Paz reviews "The Madrona Project, Volume II, Number 1"

Shaped like a coloring book, The Madrona Project, Volume II, Number 1, invites the reader to open it up at a random spot. Found inside are vivid poems, stories and reflections—scenes from one strange and lonesome year. We have before us some five dozen writers, unfurling their thoughts, without fear, across these spacious 123 pages.

“I hope our songs will spark your imagination, rekindle, and breathe life into these embers of hope,” Hughes writes. “Together, may we envision a future that hears and honors all our voices.”

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Jim Bodeen reviews Ann Spiers' & Bolinas Frank's "Rain Violent"

Rain Violent: This is a book of poems that fits into your hands. Small poems crafted.

Ann Spiers. Prophet and reporter. An elder poet now. It seems odd to say that, but I have had her White Train broadside hanging in my house since 1986. “The white cars / racketing past / bending migrants / paralyzed / over asparagus shoots.”

Spiers walking trails. Her practice over time. Touching earth and sky. Polarities and white space. There is no ego in the poems, not a smidgen of ‘look what I can do,’ Practice and how to practice. That sky overcast.

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Thomas Hubbard reviews Larry Crist's "Alibi for the Scapegoat"

We all want to be understood. It’s a basic human need, transcending differences of race, geography, sexual orientation, even religion or lack thereof. We want people to understand why we do what we do, why we love those we love, why we make the decisions we make, why we are the way we are. Unconsciously or deliberately, we manage our appearance, our speech, information we include or exclude, and our actions of the moment, in order to shape how others understand us . . . and to provide an alibi for any aspect they might find unseemly. Larry Crist’s new collection of autobiographical poems and short stories, Alibi for the Scapegoat, exemplifies pursuit of this human need most eloquently. His conversationally-acerbic writing style fits the reality in which he grew up.

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Sibyl James reviews Maryna Ajaja's "In Deep"

Like the masked deep sea diver on the cover, this collection of poems goes deep and its waters are international, ranging from Port Townsend to Moscow with many stops in between. Everywhere Ajaja brings up pithy bits of wisdom from the deeps, what Alexander Pope knew as epigrams, only this poet’s are far more original and striking: “Grief is a short word for a long phenomenon” or “Returning is like the horse that gallops forward frame by frame.” Or the one that for a time became the message on my phone answering machine: “History runs in one door and out the other / without being useful.”

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Mike Dillon reviews Madeleine Wilde's "Notes from the Garden, Creating a Pacific Northwest Sanctuary"

Writing from her garden on Queen Anne’s southwest slope—one of Seattle’s most beautiful neighborhoods—Madeleine Wilde’s voice stood out. The garden, Madeleine often said, is a metaphor for the world. Madeleine’s columns might deliver detailed advice on mulching one week and insights into the aesthetic pleasures of creating water islands the next. She was not shy about sharing her love for certain gardening books or reminding us there is a proper way to stack a woodpile (do it “right”). A column on the art of raking touches base with Van Gogh rhapsodizing on the colors in the sky. Madeleine’s prose, at times employing a canny wit, moves fluently between the practical and poetic.

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