review: AN ARRANGEMENT OF SKIN by anna journey

Sometimes being a poet means something inside you snaps, but not like a balloon too close to the ceiling. It bends and begs and burrows, and you, flailing like a sad firefly, break all the things you’re not supposed to break, trying to find it. You start with the things that keep you sane, and move outward, until the most feral version of yourself is alone on the phone with a stranger.

You call a stranger because of the shame, or because other lines have been cut. You’ve cut them, with the breaking. Except the phone call isn’t really about the things you’ve done—it’s not about the recitation. It’s asking someone, anyone, if you can still exist apart from your mistakes. Can you see me? Can you hear me?

For Anna Journey, it starts at the University of Houston, during the last year of her PhD program.

full review here

4/2/17, JMN

This poem was originally published at bloof books on 4/2/17

i was ready to sit any porch
any overstuffed couch damp with rain
headlights in the mist like a patterning of mold
in my own life
i wrote my outfits on the calendar
like a protection spell
the days went by like Mikasa plates
plus the tasteless touch of a too-smart woman
i shot Goldschläger in art class
i got kicked out of the cotillion
for sneaking mint Schnapps in the coatroom
remember the trailer
in his parents’ backyard
pulling on my baby-t and jeans
to run inside and use his parents’ bathroom
i never wanted to be rich or poor
just trouble        some trouble
all those painstaking poems i wrote in the diner
at 4am
in an aesthetic of middle class failure
i had no where to put my middle finger
remember the apartment where 299
hit the mountain
that summer drinking 40s
with the girls from the Blue Moon
i was happy to listen
she told me she could only come now
when she was dancing
skinny like a child i thought
she could never make my body
or
i could never make my body
jenn marie nunes

review: TELL ME HOW IT ENDS by valeria luiselli

This review was originally published at Ploughshares on 3/9/17

Here’s a challenge: tell me a story, without knowing the beginning, middle, or the end. Now, tell it in your second language, or one where the handful of words you know transforms you back into a child. No, let’s say you are a child. Let’s say this conversation will be recorded, and what you say—and how you say it—will determine where you are allowed to live. Let’s say you came alone.

This situation happens every day at the immigration courts in New York City, where novelist and essayist Valeria Luiselli volunteers as an interpreter. In her expanded essay Tell Me How It Ends: An Essay in Forty Questions, Luiselli outlines the intake form for undocumented minors. The procedure, on paper, is simple: Luiselli presents the questions, the children speak, and Luiselli transcribes their answers in English for the lawyers who will fight to secure their legal status.

full review here | order thru coffee house press here

o-word

I learn the difference between Oriental and Asian in middle school. No one in my family teaches me. The people in my family don’t care about political correctness or preferred nomenclatures. Watching The Real World on MTV, Pam explains that things are Oriental—e.g. vases and rugs, food—whereas people are Asian. To say a person is Oriental makes them into an object.
lily hoang

review: IN FULL VELVET by jenny johnson

This review was originally published at Ploughshares on 2/3/17 

The trope with invoking the muses is that it is always a request. Whether it is pleading or demanding, pedantic or indignant, the epic tale is something owed. For her debut collection In Full Velvet, poet Jenny Johnson’s address begins with “Thank you,” and it is radical, as if a muse might peer over the edge of her throne and say, “My, those are words I have not heard for some time.”

“Dappled Things” spans eight pages, each with two stanzas. In a meditation too specific to be anything but genuine, Johnson names gratitude for everything that is “still somehow / counter, original, spare, and strange,” like “the alien markings on my girlfriend’s cheek and how / they form a perfect triangle.” She comments on the weirdness of “[generating] a realm / where we can always see, never see” and the optimism that remains relentless despite all: “Where’s Hope? Hope’s a weed, obscene / on my head, springing white hairs.”

When Johnson does ask for something, it is from herself, rather than the universe. With “Summoning the Body That Is Mine When I Shut My Eyes,” she employs the oddities of nature to remind her that she is here now, sentient and present:

Come belted kingfisher flapping
Come lavender asters wheeling
Come loose, a sapling lengthening
Come honeysuckle Come glistening

Each image has a sense tied to it, perhaps with the hope that conjuring these things can remind what a privilege it is to witness them.

The title poem, as the cover implies, explores the vascular skin that grows on deer antlers during their development. Here, again, is a fascination with the body: “Gut a body and we’re nothing left but pipes whistling in the breeze.” Johnson describes watching a scientist severing the wing of a cassowary (“Because it made me want to turn away”) and quotes a taxidermist giving instructions about deer:

Now we’re going to put a puncture in the tip.
So, we’re not just hitting the one vein.

That’s what we want to see.

It is gruesome but Johnson is reaching for something, trying to understand the oddity of being alive. “Love, we are more than utility, I think,” she writes, and it is both a declaration and a question. “I know my body’s here,” she writes, “when the turkey vulture comes out of the thicket, wings spread wide, smelling all of it.”

However, it would be wrong to categorize this book as a collection of “nature poems,” as it were. “The Bus Ride” is Johnson’s joy of looking at her girlfriend as the light comes through the window, making her glow. “In The Dream” is the transcription of a nightmare that begins with her “alone in a dyke bar.”

In “Souvenirs,” the last stanza is about an ex-girlfriend calling years after a bad breakup. Now living a thousand miles apart, the ex-girlfriend asks Johnson’s permission to build a model of her new home. The ex-girlfriend is a sculptor and wants to use sugar cubes but does not know the measurements. Johnson does the work with grace:

I cannot explain my consent
that evening, alone, at home,
the yellow tape unspooling, I measured closet widths,
calculated the feet between hedges—
I wanted her to craft it perfectly to scale.

If In Full Velvet is a map of Johnson’s mind and memory, it is one worth saving. Johnson is precise with herself, patient with others. These poems celebrate the feeling of spinning in tight circles until all that is left the spiral, rushing from the inside out.

phantom limb

It’s strange, I think now, how even what the mind forgets, the body remembers. How the body remembers apart from the mind: the way of standing-beside or lying-under or sitting-above or rising-from. The body remembers the positions: its position in relation to other bodies. The raised shoulders, the lowered voice. How every muscle, even the tongue, can go stiff. Or shudder. How after the other is gone, the body continues on: beside, under, above, from. The shadow, the ghost, the grace. Habitus: second nature, a memory so deep the body will always remember.
lacy m johnson