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The speaker conjectures on what it would be like to be white. Her question is a challenge and her examples are not flattering to whites. "I would forget my furs on any chair. / I would ignore the doormen at the knob . . . " and, finally, "I would do nothing. / That would be enough."
The title of this collection of poems recalls the formulaic statement by which a physician introduces a patient's medical problem or chief complaint. For example, "The patient presents with a history of fever, abdominal cramps and diarrhea for the last 24 hours." Or, "The patient presents with a long history of hypertension and diabetes." In this case, though, Dr. White's patients' presentations are poems, rather than chunks of sanitized medical jargon; and, while the patient remains a key character in most of these works, they also present the doctor's story.
Domestic violence, child abuse, and sexual abuse figure prominently in these poems. In "365" (p. 1) a five year old girl presents with "a foul smelling vaginal discharge"; she was a victim of rape. Baby "John Brown" (p. 9) has 47 fractured bones and was "dipped in boiling water" for soiling himself. In "Ironing" (p. 18) a first grade girl has the impression of an iron burned into her thigh. And the two-year-old girl in "Peek" (p. 49) is admitted to the Intensive Care Unit (ICU) with cigarette burns and a liver fracture.
Dr. White also writes of babies left behind by their mothers ("Autumn Angels," p. 3), homeless mothers and children ("Numbers," p. 42), and complex multigenerational family pathology ("Riddle," p. 50). All in all, these stories carry the reader very close to "Looking at the Gates of Hell" (p. 32).
Yet, a still, small voice of calm, maybe even of salvation, can appear in the most unlikely places. In "Belly" (p. 4) the physician lays her face against a baby's belly and "the warm brown skin calms my forehead. / All stiffness melts." In "Maplewood & Greene" (p. 36) she revels in seeing "three little girls on roller skates." And in the Whitmanesque poem called "Oh" (p. 45), she gloriously affirms, "Oh to laughter, oh to sorrow / Oh to a better day, oh tomorrow."
This is a collection of poems that ranges widely through both the geographical and spiritual worlds. Susan Rich began her career as a human rights activist and Peace Corps volunteer in Niger. She has also worked in South Africa, Bosnia, Gaza, and as a program coordinator for Amnesty, International. Her poems are lyrics of empathy, discontent, and hope, unified by her "Cartographer's Tongue."
From an international medical and health perspective, some of the best of these poems are "Haiti," "The Woman with a Hole in the Middle of Her Face," "In the Language of Maps," "The Toughest Job," "The Beggars," "Sarajevo," "La Verbena Cemetery," "Whatever Happened to the Bodies," and "The Scent of Gasoline."
In this collection, Judith Arcana brings together her long-standing feminist activism, especially for reproductive health and abortion rights, and her gifts as a poet. Although Arcana's activism dates back to the early seventies, most of the poems in the book were written between 1998 and 2004. They draw from "the lives of women and girls I know or have simply encountered" (xi).
The collection is divided into four sections: "Separating argument from fact," "Information rarely offered," "Don't tell me you didn't know this," and "Here, in the heart of the country." Spoken in first, second, or third person, these poems evoke the myriad individual situations in which women of childbearing age become pregnant, and the trajectories their lives may take as a result.
The title of the collection derives from one of its poems ("What if your mother") and the related, immediately preceding poem, "My father tells me something, 1973" (6-7). Arguing back to those who confront her with, "What if your mother had an abortion? . . . they mean me," the speaker/poet answers, "then I say she did . . . . "What if, what if. / What's the point of asking this phony question?"
From the preceding poem, the reader has learned, along with the speaker listening to her father in 1973, that the poet's mother had an abortion in the Depression era, early in marriage. With this juxtaposition of poems we are introduced early in the book to the complexity of the issues surrounding pregnancy, parenthood, and abortion and to the timeline of a continuing national and personal debate. This complexity is the subject of the collection.
This collection of 116 poems by 76 poets includes a wide range of perspectives, although most are written about a friend or loved one with AIDS or by a poet with AIDS. The poems are about love, loss, grief, pain, fear, beauty, illness, death, and transcendence.
Some well-known poets, such as Adrienne Rich, Paul Monette, James Merrill, Philip Booth, Robert Creeley, and Marvin Bell have contributed to the anthology. Brief introductory essays by The Rt. Reverend Paul Moore, Jr., Joseph Papp, Carol Muske, and the editor comment on the power of the voices, the politics of AIDS, and the elegiac quality of many of the poems. Michael Klein likens the book to the patchwork quilt of the NAMES Project, and hopes that the book, like a "well-made" quilt, will "last awhile, keep you warm."
In his third collection, Campo presents visceral poems that grow organically from the body: his own body and the bodies of patients, lovers, family, and friends. He doesn't write about being a gay physician of Cuban background--rather he crafts poems that address pain, love, and memory within a metrical framework so seamlessly that readers might feel they are healing, seeking, and singing alongside him.
Outstanding poems include "Sonnet in the Cuban Way," "The Return," "The Dream of Loving Cuba," "Madonna and Child," "Baby Pictures" (a prose-poem sequence), "A Poet's Education," "The Changing Face of Aids," and "Recognition." Section V, "Lorca," gives us Campo's translations of Federico Garcia Lorca's Sonnets of Dark Love.
It is Good Friday, or, rather two Good Fridays: one muddy and stormy and demanding an indoor funeral conducted by a black-robe but infused with an attenuated Salish ritual. This is the bad Good Friday. The real Good Friday, the warm and sunny one, escapes the Christian emblems. The tribal mourners' ". . . chanting / bangs the door of any man's first cave." As the narrator leaves the church of the bad Good Friday funeral service, he notes, "Every year / A few less live who know the Salish hymn."
David Rosen and Joel Weishaus are long-time friends, the former a psychiatrist, the latter a poet, teacher, and literary critic. Both authors have lived and traveled in Japan, and both are enamored of the haiku form. In this book, Rosen and Weishaus carry on the "renga" tradition of writing haiku as part of an on-going conversation, a call and response of commentary and haiku. Grouped into 53 two-page chapters, such as "Feeling Death," "Learning to Bow," "Eating," "Mother Ill, Mother Dead," "Tuscany," and "Turtle Wisdom," this conversation is enriched by the black and white illustrations of Arthur Okamura.
The comments and haiku range widely and deeply, reflecting the authors’ recognition of the possibility and need for healing, not only in human relationships but also with Nature. In part, this conversation is the authors’ quest to understand the "psychology, meaning, and healing value" of haiku (1), and to explore how poems might lead not necessarily to cure but to "becoming whole" (5).
The commentaries are open and transparent, interwoven as one poet picks up a word or image in his friend’s haiku and extends it, turning it over both in commentary and verse-for example, see the chapter "In the Flow" where the last line of Rosen’s haiku, "A river streaming back toward the sun," is used as the first line of Weishaus’s responsive commentary, one that transports the discussion from Japan to Africa (82-83). Often movingly honest, the poets discuss loneliness and death, their insights reflected in artist Okamura’s stark ink swirls (8-15). They examine their relationships with their fathers ("making Peace with One’s Father," 44-45), and they don’t shrink from humor ("Learning to bow," 34-35) or from sensuality ("Anima," 86-87). Their spiritual references range widely, from the Hebrew God to the Buddhist’s tribute to Nature (70-71).
The haiku are lovely, both strong and delicate, our appreciation of them enhanced by a review of haiku’s traditions in the Preface (1-5). Rather than try to describe the haiku (because, like all good haiku, these cannot be captured or retold and remain the same), I’ll present one haiku from each poet and hope readers will be compelled to seek out the book and read further.
David Rosen, on walking near his apartment in Mukaijima (40): Shimmering paddy-- / The slap of small feet nearing / Where dragonflies hover. Joel Weishaus, on September 11, 2002 (103): Sluggish creek-- / A shadow dips / And drinks.
The story itself commences after the vituperative dedication to Robert Southey and several stanzas mocking contemporary heroes, with Don Juan's birth in Seville to Donna Inez and Don José. The adventures begin with his affair with Donna Julia, his mother's best friend. Donna Julia's husband, Don Alfonso discovers the secret romance, and Don Juan is sent to Cadiz. A shipwreck along the way sees him stranded, the lone survivor; there he meets a pirate's daughter, Haidée. Expelled from this paradise by Haidée's father, the pirate Lambro, he is captured, and sold into slavery.
Gulbayaz, one of the Sultan's harem, has him purchased and smuggled into her company dressed as a girl; after he spends the night in the bed of one of her courtesans, Gulbayaz threatens both with death. When next we see Don Juan, he has escaped. He joins in the Russian attack on Ismail, where he fights valiantly and rescues Leila, a Muslim child. They are taken to St Petersburg, where he impresses Catherine The Great and joins her entourage. Due to illness, he is sent to London, where, as an ambassador for Russia, he joins the Court and finds for Leila a suitable governess; the final cantos see him amongst the Lords and Ladies of British aristocracy, in particular Lady Adeline and the mysterious Aurora Raby.
Summary:The narrator is visiting a patient in a mental hospital and sits chewing his sandwich. He has also brought a sandwich for the patient (his brother? father? friend?), but the patient just holds his sandwich motionless in front of his mouth. The narrator tries to accept this as ordinary; he keeps chewing. But his "past is sitting in front of" him, trying unsuccessfully "to bring the present to its mouth."