Poetry Win! Live From The Homesick Jamboree!

6998642I just learned that I’ve won a copy of Live From The Homesick Jamboree by Adrian Blevins! Yay!

Summary from GoodReads:

Live from the Homesick Jamboree is a brave, brash, funny, and tragic hue and cry on growing up female during the 1970s, “when everything was always so awash” that the speaker finds herself adrift among adults who act like children. The book moves from adolescence through a dry-eyed, poignant exploration of two marriages, motherhood, and the larger world, with the headlong perceptiveness and brio characteristic of Adrian Blevins’s work. This poetry is plainspoken and streetwise, brutal and beautiful, provocative and self-incriminating, with much musicality and a corrosive bravura, brilliantly complicated by bursts of vernacular language and flashes of compassion. Whether listening to Emmylou Harris while thinking she should be memorizing Tolstoy, reflecting on her “full-to-bursting motherliness,” aging body, the tensions and lurchings of a relationship, or “the cockamamie lovingness” of it all, the language flies fast and furious.

I’m stoked to read this. Poetry is joy afterall. (^_^)

The book was offered by Joseph Harker as part of the Big Poetry Giveaway.

Books read in April

1. The City & The City, China Miéville (one of the best I’ve read this year)
2. Creepers, by David Morrell
3. The Arabian Nights: Tales of 1001 Nights, Volume 1
4. Criss Cross by Lynne Rae Perkins
5. lost boy lost girl, by Peter Straub
6. Camouflage, by Joe Haldeman
7. The Tale of Despereaux, by Kate DiCamillo
8. The Three Musketeers, by Alexandre Dumas
9. Hourglass Museum (poetry), by Kelli Russell Agodon
10. The Windup Girl, by Paolo Bacigalupi

REVIEWS (behind the cut): Continue reading “Books read in April”

Hourglass Museum by Kelli Russell Agodon

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Hourglass Museum by Kelli Russell Agodon was the April read for Jessie Carty’s Poetry Book Club — and it was so yummy.

“If you think you are the mermaid, think again.
You are the ocean holding the mermaid afloat,
trying to change the world one dolphin at a time.”

— from the poem “Souvenir Boxes”

Agodon’s poetry explores a variety of themes within Hourglass Museum. As the title suggests, art is an important source of inspiration here (as can also be seen in the long list of notes at the end of the book), with poems referencing great artists such as Frida Kahlo and Andy Warhol. The idea of preservation, via canvass, poem, or as a collection in a museum, of moments captured and held in stasis through artifice and creation are a constant in these poems.

“Dark matter angels mingle over oceans
and bubbling cities filled with unopened jars,
all we had were cupboards and cupboards
of challenges.”

— from the poem “A Moment Ago, Everything Was Beautiful”

The outward inspiration of art and museums, is drawn into the personal scope of Agodon’s personal life, both her inner emotional realm and the outer realm of home and family and relationships. This connection between art and home works well, since as human being we often take memories and put them on the shelves of our minds, we collect pieces of anger and store them for later use, attach joy to simple objects, return to each of them again and again, revisit, and Agodon’s poetry reflects this.

“I place solitude in a frame on my desk
and call it, The one I love.”

— from the poem “Line Forms Here”

She explores a variety of emotional states, including depression and loneliness. The language beautifully expresses these emotions and allowed me to connect with them personally. I could see myself in these moments of darkness and in the ways a write approaches such moments, especially through pen. I think these feelings are approachable from a variety of perspectives, allowing many kinds readers to feel them.

“There’s no dessert in the picnic basket,
so I swallow time. My mouth is full
of hands and numbers. I ask for seconds.”

— from the poem “Drowning Girl: A Waterlogged Ars Poetica”

And yet, there is a sense of humor throughout, too, a poking of fun at the supposed importance of depression, so that such darker subjects cannot drag down the reader and instead allow them to explore and transverse the state. It brings a lightness to the poems that makes them great to read.

“I escape disaster by writing a poem with a joke in it:
The past, present, and future walk into a bar — it was tense.”

— from the poem “Sketchbook with an Undercurrent of Grief”

All in all, this was a wonderful collection and, though I own it in digital format, I’m contemplating buying it again in print format as well, just so I can add the tactile sensation to my enjoyment of the book.

“Madness is a meaningful way to exist.”
— from the poem “Menacing Gods: An Abstract”

Thoughts on The Arabian Nights, Vol. 1

Arabian Nights

When King Shahriyar discovers his wife to be unfaithful, he begins to marry young women, only to behead them in the morning. In order to save the young women of the region, Shahrazad gives herself to the King Shahriyar. She is not expected to survive beyond dawn, but during the night she begins to tell tales, each night ending the story in the middle, leaving the king desperate to learn the ending and allowing Shahrazad to live another day.

One of my reading goals for this year is to read the complete version of A Thousand and One Nights. My aim was to find a translation that was as complete as possible, including “Aladdin” and “Ali Babba and the Forty Thieves“, both of which were added in the 1700-1800s. Since there are many translations, I eventually settled in the Penguin Classics version, The Arabian Nights: Tales of 1,001 Nights, which comes in three giant volumes and claims to be as complete as possible. (Plus I really liked the covers.)

Volume 1 is 980 pages long. It includes the beginning of Shahrazad’s marriage to Shahriyar and provides up through night 294 of tales, as well as “Ali Babba and the Forty Thieves” as an appendix.

Shahrazad’s tales range from adventure yarns with djinn to morality tales, love stories, fables, and war epics. Despite the variety of tales, there was also a great level of repetition, with similar descriptions of characters or expected outcomes. Though this should be expected due to how many stories there are, it can get burdensome for some readers, I’m sure.

The stories are also often nested, a tale within a tale within a tale. Just as Shahrazad saves herself through the telling of the tales, many of the characters within her stories also save themselves from death in a similar way. For example, kings are of ten saying, tell me story more wonderful than what has just happened or I’ll cut off your head. The nesting not only allows Shahrazad a longer tale to tell, which keeps her alive for more nights, but also shows how valuable the act of storytelling was thought to be. Sometimes the nesting becomes a bit too much, though, and there are so many stories within stories, it can be easy to forget the original story, until it’s finally returned many pages (and nights) later.
Continue reading “Thoughts on The Arabian Nights, Vol. 1”

Books Read in March

1. 2312, by Kim Stanley Robinson (***1/2)
2. The Swerve: How the World Became Modern by Stephen Greenblatt (DNF)
3. The Yiddish Policemen’s Union (audio book), by Michael Chabon, read by Peter Riegert (*****)
4. The Missing by Sarah Langan (***)
5. When You Reach Me by Rebecca Stead (****)
6. March by Geraldine Brooks (****)
7. Kira-Kira (audiobook) by Cynthia Kadohata (****)
8. The Worm by Elise Gravel (****)
9. Scarecrow Gods by Weston Ochse (*)
10. Colaterales/Collateral by Dianapiera Di Dontao (****)

REVIEWS (behind the cut):

Continue reading “Books Read in March”