A Book and Its Cover: Rose Solari Reviews Two New Collections of Poetry for WIRoB
Terri Ellen Cross Davis and Dan Beachy-Quick's new collections get the Rose Solari treatment in a new review which ties subject matter to cover design.
Rose Solari's latest review column for Washington Independent Review of Books tackles two stellar new collections by established small-press poets, Terry Ellen Cross Davis and Dan Beachy-Quick. As with all her reviews, Rose uses a common theme to link the subject matter of the books she is reviewing. This month, she explores how the cover design is mirrored by the poetry and vice versa.
Of Terri Ellen Cross Davis' new collection a more perfect union, Rose writes that before you read the first page you know that the poems will be "strong, elegant, embodied, female, and Black." She goes on to praise Cross Davis' incisive poetry which "[don't] waste time." In Rose's words Cross Davis' "lyricism is purposeful, her observations cut quick and sharp." Finally, Rose praises Cross Davis for her lack of "sugar-coating" particularly in poems which detail the relationship of a Black mother and son.
Of Dan Beachy-Quick's aptly titled Arrows, Rose praises a cover and forward matter that at first appear overly "precious" but, after reading the first poem and being transported "immediately into another world, an imagined ancient time where place is a meditative state of mind," capture the mood and feel of the book perfectly. Rose both praises and criticizes the classical bent of the poetry:
"Unless you’re a classicist yourself, you might need a few reference books (or handy use of online searches) to follow these poems to their landing places. But rather than being put off by that, I was grateful to feel, as I read, my mind widening to encompass the contradictory impulses, the sly jokes followed by unabashed celebration that these poems contain."
Featured Audio: Rose Solari reads “The Beginning, 1939”
In “The Beginning, 1939” Rose Solari’s mastery of recitation is put to the music of her capricious mother and the frantic hopes of her father who wishes to leave “no long, tight pauses for her to fill.” I’ve written before about Rose’s use of swing and rhythmic motifs in her work, elements which are alive in this poem, but what is really mesmerizing to me about “1939” is the musical image toward the end which harbors no pretense of cramming lieder into language, but instead focuses on the very physical act of her mother playing the piano:
Mikaela Lefrak Examines the Life of Maryland Poet Laureate, Grace Cavalieri
The beloved Grace Cavalieri “contains multitudes” according to Mikaela Lefrak in her newest article from WAMU taking a look at the life and career of the 10th Poet Laureate. And Ms. Lefrak treats her subject with the due respect of a life which cannot be covered succinctly in 500 words. She delivers a reverent tourists’ view of Grace Cavalieri’s life, hitting the big things: her poetry and work ethic, the passing of her husband, Kenneth Flynn, her conversion to Buddhism, and finally her new tenure as Poet Laureate.
Listen to Grace Cavalieri on the Kojo Nnamdi Show
Grace Cavalieri’s recent stop at NPR’s The Kojo Nnamdi show is now streamable. Over a substantive 22 minutes, listen to Grace talk about poetry, inspiration, and her plans as the 10th Maryland Poet Laureate.