Here are eight notable books of poetry publishing in November.
Gorgeous and searing, Brimhall’s poems are rooted in the marriage of myth, mysticism, and mystery. Collected with the breadth and power of a novel, but delivered in discrete scenes and dreams, Saudade is one of the best books I’ve read this year. In “The Unconfirmed Miracles at Puraquequara,” a litany of transformations come from the touch of a shrunken hand. A barren woman gives birth. Crops flourish. The narrator knows the hand’s secrets, and is silent at first: “The town / had waited so long for a miracle, and it was finally // here, enriching the poor, emboldening the meek, / carving acrostic mysteries into the trees.” Salvation soon turns sour, though, and death comes to the town, leading to a public ritual of cleansing that ends with “Startled pigeons roosting on the church / roof took flight when they heard the clapping.” In God-soaked Brazil, Brimhall’s characters can’t help but dance with darkness: “A sinner needs her sin, and mine is beloved.” There’s a causality, a profluence to these poems created by her lyricism, and her swift pivots. When we return to Puraquequara, a camera crew films a telenovela based on the miracles, and the narrator speaks: “An extra in my own story and envious of the ingenue’s unmuddied / shoes and air-conditioned hotel room, I say, Ajudar, ajudar, // and cry on cue.” Dreams bleach reality: “the mayor hangs himself and bequeaths / his second-best bed to his horse, I write romantic obituaries / and send his wife signed photographs of myself.” Disturbing, and masterfully done, Saudade will take you somewhere else, a place you know is true: “I hate to spoil it, / but the end of every biography is death.”
Speaking of her previous collection, The Boss, Chang said she wanted her poems “to propel themselves through language”—an equally accurate description of Barbie Chang, her latest book. Chang entrances with wordplay, but the dance never feels hollow: this is performance with poetic soul. There are two strands to her book that sustain each other: a woman both desiring and rejecting the urge to become part of a suburban community, and the woman’s life with her parents. Barbie sees “beautiful thin mothers at school / form a perfect circle // the Circle will school her if she lets / them they have // something to say doves come out of / their mouths that // explode splinters in the sky.” In Chang’s talented turns, mere phrases become fantasy. She’s mastered the art of recursive language, and Barbie Chang—woman, idea, performance—feels incantational as the book progresses. The Circle returns often: villainous, perfect in their plasticity. They are drunk at a school auction, “tossing coins in baskets.” The whole scene a mess, but Barbie “owed it to // her children to make friends to blend / into the dead end.” Background becomes foreground, as Barbie’s father is sick, and Chang’s eschewed punctuation begins to feel like halted breaths. Don’t miss the exquisitely crafted litany of linked poems in the middle of the book, evidence how quickly and precisely Chang can turn from comic to comforting to transcendent: “how in one / moment your hands collide as in clapping / how in some other moment they will rise / over my encased body touch in prayer.”
Duan’s talents are many, but she’s an especially powerful poet of scene. The collection begins with her title poem, searing in action: “Father’s chopsticks crashed. He threw them.” Angered, “Father could not believe he had raised such a daughter.” He “coughed a mouthful of rice”; he was “extraordinary and old and Chinese.” Elsewhere, the narrator’s mother “does not own a / Laundromat or / a take-out restaurant.” She “is not / from your country, / and I am not / ashamed. // I slip my hands through her wise hair, // and keep.” Duan moves between affirmations of self and the inevitable struggle of difference; “my tongue // my hardest muscle // forced to swallow / a muddy alphabet.” Duan sketches these strained emotions with care and courage. This is a book of prejudice and expectations, and how they hurt in various ways. In “When All You Want,” the young narrator is at the piano. Above her, “Mrs. Liu with her / handsome mouth.” Mom watches “anxiously from the window.” A boy plays a violin in the next room. Duan turns back to Mrs. Liu, and the candies in her mouth: “clack, suck, clack, / again—here go all the noises you love.” I Wore Blackest Hair is a storm of senses, a chronicle of strained identity and a stance of power: “don’t mistake / me for a soft woman, / a shy mouth— / I can lash like the / hot, hot rain.”
There’s a magic at work in these often tight, but never cinctured, poems. In “Remaking the Music Box,” the narrator has advice for us: “First unhurt the accidents. / Plant yourself in what remains.” After all, “No sadness just disaster / no meanness just thrift.” These poems often drift back to youth, when the narrator, “light and white as a candle,” still felt “my childhood pooling like wax at my feet.” Appropriate to the title, the collection contains 17 riddles, their answers revealed on the final page, but well-worth the poetic game of waiting. It’s a playful interlude that gives Hilsabeck’s collection an endearing bit of freedom: we can find the answers to our questions, or we might accept that in poetry, as says W.H. Auden, “you do not call a spade a spade.” Sometime it is enough pleasure to let our poets leave trails of language without firm destinations.
Imagine discovering someone’s notebook, the pages covered margin-to-margin with desire, anxiety, and fear, all wound together through association. Thousands is a raw collection, where each poem bleeds into the next, as if we are reading one long threnody. The effect, admittedly, is sometimes dizzying, and readers will want to devote time to this book, but the work is returned with gifts. Darst offers thanks to Susan Sontag’s Reborn: Journals and Notebooks here, but blazes her own trail with poem-stories that begin in Minneapolis, Minn., in 2011 and end in Durham, N.C., after 2014. The tension of a timeline opens so many themes: “How do I make this world yield what I need to get from it?” “How do you deal with the casual atrocity of the world?” Darst’s poems are running monologues of wonder and worry; in one way, they are a document of a poet’s struggle to give suffering context. “Do you keep a journal / why / why not // Keep one now / keep me in it”: Darst’s intimacy here is masterful: whether it is love, lust, pregnancy, or words: “The poem I can’t write persists.”
“When you choose to be a poet // You become a place that people walk through / and then leave when they are ready.” The arrowed exhales of Francisco’s spoken word poems translate well to this debut. Lines flow with the rhythm of conversation, winding toward clever conclusions. True poems like “Mess” abound: “On the day you couldn’t hold yourself together anymore / You called for me.” Then, “I found you, looking like a damaged wine glass. / I hugged your shatter,” but “When it was over, you looked at the stains on the carpet / And blamed me for making a mess.” Maybe we can get people to chant the refrains from poems like “Chameleon”: “And we often forget that sexism is a family heirloom // that we’ve been passing down for generations / As men, it is important that we start asking ourselves // What will the boys learn from us?”
“Whatever one witnessed in battle became a silence carried within.” This anthology begins with a haunting foreword by Yusef Komunyakaa, a consideration of race, Southern identity, and family tradition—one that destined him for military service. A Vietnam veteran himself, Komunyakaa explains that soldiers carry home “echoes of our war…we carry with us the pathos, and our loved ones often inherit the caustic baggage.” Subtitled Poetry & Prose by Descendants of Vietnam Veterans and Refugees, the anthology captures grief and guilt in turns, and its mixture of poetry and prose channels the range of emotions and expressions. In “The Lost Pilot,” a prefatory poem that sets the tone for the book, James Tate elegizes his father: “your face did not rot / like the others—it grew dark, / and hard like ebony.” This is a book about fathers, and rightly so, as Laren McClung notes: “the father is always a source of myth, but the father who has seen war, who has performed the complex work of violence, heroism, or survival, is in many ways inaccessible, a mystery to us.” Inheriting the War mines that mysterious space, how we pursue the soul of those we love who are torn by war, and how those wounds weather our own hands and hearts. We should consider the metaphors and myths, but there is more to encounter here: as poet Brian Ma considers, as a re-outfitted military plane carries him to his parents’ home of Vietnam: “as usual the boundaries are hard to discern. / The guilt is like a fog; in the fog there are people.”
“One of life’s greatest pleasures, / If I’m allowed the phrase, / Is packing a suitcase. // It’s not like building a fire, / When you want to leave space for air.” Longenbach’s poems occupy a strange yet perceptive place between the real and the unreal. I hesitate to call his verse surreal, because I associate that word with distortion; Longenbach gives his readers a route to follow, and its turns are precise. Poems like “The Dishwasher” drift on a wave of melancholy. A soft song on a Chevette’s radio becomes a hymn to search: “I wanted to hear it again. / I drove to the supermarket, then drove home.” We move to find where we’ve been, like when that character hears his mother’s voice, asking him a question that goes unanswered: “What kind of coffee do you like?” Poets will appreciate works like “Preface to an Unwritten Book,” in which the narrator knows he is supposed to be writing, “But you should realize I’d much rather spend my time / Reading or, since it’s the end / Of summer, sitting. / Our truest impulses are so immature.” There’s a quietude to Longenbach’s lines that is calming, and then there are long poems like “Climate of Reason” that shock me awake and breathless, inspired by Gustave Flaubert’s Temptation of Saint Anthony: “In the middle of the desert / You might be anyone, / Except you’re never in the middle, / You’re at the edge.”
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