Challenge and Ambition: Rose Solari Releases new Poetry Reviews for WIRoB
Rose Solari's reviews this month focus on four collections that "challenge and stretch the reader’s expectations in terms of content, form, or both."
Rose Solari's reviews this month concern books that "challenge and stretch the reader’s expectations in terms of content, form, or both." This includes Charlotte Pence's vitalizing Code with its centerfold poem written entirely in DNA, Kelvin Corcoran's The Republic of Song with its tributes to the scholar and poet Lee Harwood, Lauren Camp's soft poems based on visual artists of the 20th century in Took House, and the singular obsession with form presented in Peter Kline's Mirrorforms.
As always, Rose Solari writes with generosity and specificity when recounting the challenges and triumphs of each work. It is important also to note something unique to her reviews: her ear for the music of poetry. Solari never leaves the reader wanting for descriptions of concord and discord.
Rose Solari's is a monthly poetry review column for the Washington Independent Review of Books. You can find more of her reviews HERE.
Solari, while an excellent reviewer of poetry, is herself a regarded poet. Check out her work HERE.
Featured Audio: “Margaret in Oxford,” a Reading by Rose Solari
Robert Olen Butler loved Rose’s debut work of fiction for its sense of the eternity. This is one of many reasons why all of Rose Solari’s work must be treasured. It plays on life motifs, flips, forms, and languors upon the archetypes formed of human experience. We have spoken previously of Rose’s reverence for the myth in modern day. We even looked before at A Secret Woman’s sense of itself as being both poem and novel…
“On the Road, Columbia, South Carolina, Spring 1959” A Poem by Reuben Jackson
“There’s much said in what’s not said in Reuben Jackson’s poetry. His cleverly sparse style often convincingly veils the complexities of which he writes, just until the poet sharply corrects our deception.” Linda Stiles
Those deceptions Ms. Stiles refers to above often come from Reuben’s use of the child’s point of view. As a child, the narrator, and reader by proxy, is looking up at the absurdity of adult interests and actions with a renewed curiosity. The narrator misses the cut of the barber’s words when asked “aren’t you proud of being negro?” The narrator cannot reason why the neon lights of the roadside motel are fading in the rear-view window, and yet his father seemed once so confident…
New Poem by Reuben Jackson, “Radio Nights”
Radio Nights by Reuben Jackson ASP is proud to premier the new Reuben Jackson poem, “Radio Nights.” From Reuben: As I mentioned during the interview with Rose Solari, my childhood […]