Rose Solari Reviews Four Poetry Collections Dealing with Grief
Solari's anticipated monthly poetry column in the Washington Independent Review of Books dropped today. She tackles four new collections by women poets dealing with grief.
This month, Rose Solari's column for the Washington Independent Review of Books looks at three shining new collections from new and established poets, as well as the best of Jane Kenyon. Each collection, in a way, deals with grief (from her review):
"Grief is a perennial subject for poets, and for good reason: In making art out of our losses, we not only memorialize our dead but can, with luck and skill, sing or speak our way into healing. Four new collections by women poets all revolve, in one way or another, around grief and its aftermath. Each offers poetry of exploration, catharsis, and even consolation."
The four collections reviewed this month are:
Allison Benis White's The Wendys (from the fantastic independent press, Four Way Books)
Jil Bialosky's Asylum: A Personal, Historic, Natural Inquiry in 103 Lyric Sections
Lesley Wheeler's The State She's In (from another wonderful small press, Tinderbox Editions)
Poet Jane Kenyon and editor Donald Hall's The Best Poems of Jane Kenyon (from Graywolf)
Check out Rose Solari's live show "Rose Reads" every Wednesday at 4pm EDT on her Facebook Page.
Grace Cavalieri’s Interview on Midday with Tom Hall
Grace Cavalieri stopped by WYPR last week for an interview on “Midday” with Tom Hall. The Poet Laureate and author of ASP’s Other Voices, Other Lives, mused on her life and work, meditating on the loss of her late husband, and reading from her deep poetry catalog. This interview is well worth the 40 minutes it takes to impart the important wisdom of one of Maryland’s foremost sages.
University of DC Jazz Forum: A Conversation with Reuben Jackson
In this video from the UDC Jazz Forum, jazz scholar, Reuben Jackson, sits down with historian, Rusty Hassan, to discuss his life and career.
Inside the Industry: The Wonderful World of Galleys
Joanna Biggar’s new book has just gone to galley, but what exactly does that mean?