Showing 1 - 2 of 2 annotations associated with Nigliazzo, Stacy
- Davis, Cortney
Summary:"My Borrowed Face," Stacy Nigliazzo's third full-length poetry collection, contains 55 poems, presented as a continuous flow without division into sections. Once again, Nigliazzo's poems are spare, often only phrases or words scattered on the white page, a form that leads the reader's eye from one image to the next. (For a brief discussion of how this poet uses white space, see the annotation of her second collection, “Sky the Oar” on this database.) The poems in this collection were written during the Covid pandemic; they speak of the toll the virus has taken and continues to take not only on patients but, in these poems, on the caregivers--specifically the poet. Nigliazzo, an emergency room nurse who has worked through five pandemic surges, is the perfect narrator to take us along on her rounds.
The book's early poems look back before the pandemic ("5920 Days Pre-Pandemic," p. 11) and then they come closer ("30 Days Pre-Pandemic," p. 12), until they begin to chart, with stark imagery, the beginning and the continuation of the pandemic. We walk with the poet / nurse as she ticks off the days from "First Sunday on the Ward, Pandemic," p. 15, through "575 Days Out," p. 41.
The 16 poems that close the book are a rest, in a sense, from the pandemic. These poems are individual reflections, like quick photographs, that capture a variety of observations both personal and professional. "Self-Portrait as the Pink Moon," p. 42, and "Blue Book," p. 43, hark back first to Nigliazzo's mother, pregnant with the poet, then to her mother's death. In a way, circling this collection back to the beginning, birth and death, the never ending turning.
- Davis, Cortney
Summary:"Sky the Oar," Stacy Nigliazzo's second full-length poetry collection, contains 52 poems in four sections. These poems are gems--and gem-like, each poem has been created by a compression of words into unique forms. Nigliazzo's poems wander along the page, floating in white space as margins move in and out. In the three "Triptych" poems, pages 36, 46, and 61, Nigliazzo uses an article written in 2015, the report of a woman's murder, as a pale background. By choosing words to highlight, the poet creates spare poems that emerge as commentary on this crime--"Triptych III" offers only 6 highlighted words (pages 61-62). Nigliazzo has abandoned the more common narrative form--long or short lines that tell a story--and instead gives the reader hints, sign posts along the way. These poems are not meant to be read quickly. It is only by pondering them, allowing the imagination and intellect to fill in, so to speak, the white space around the words, that the impact and complexity of these stunning, impressionistic poems becomes evident.