Poetry

Review: Word Made Fresh

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Cover image for "Word Made Fresh" by Abram Van Engen

Word Made Fresh, Abram Van Engen, foreword by Shane McCrae. Wm. B. Eerdmans Publishing (ISBN: 9780802883605) 2024.

Summary: An invitation to delight in poetry while discovering how form and language help make meaning that may enrich our lives.

A recent survey found only twelve percent of Americans had read poetry in the past year. I wonder if many are like friends of my who are put off by one or both of two things. Firstly, they find poetry confusing or obscure. Secondly, they don’t know where to start. By contrast, Abram Van Engen believes poetry is for all of us, an invitation to pay attention, to delight, and reflect. For Christians, he goes further. Poetry may be found in much of scripture, most notably in the Psalms. They both disclose God to us and give us language to disclose ourselves to God at all the turns of life. Van Engen believes poetry is for you and he sets out in this book to show how you may enjoy it and find your life enriched by it.

He keeps it uncomplicated. He invites us to just pick up a book of poetry and begin reading until something catches us. Don’t worry about meaning to start with, just notice what caught our attention, and why, in our lives, that might be. Initially, he invites us to read for pleasure, and at the beginning of the book, shares a number of poems. If we like them, he invites us to pay more attention, and if not, to move on.

For example, in one chapter, he considers poems by Gerard Manley Hopkins (sonnet), William Carlos Williams (three four line verses), Gwendolyn Brooks, Denise Levertov (free verse), Lucille Clifton, Luci Shaw, Scott Cairns, Mary Karr, Richard Wilbur, James Weldon Johnson, John Donne (sonnet), Countee Cullen (also sonnet), and Robert Hadyn. By doing so, Van Engen offers us his own curated anthology, offering us the change to discover what we like, while offering very introductory comments.

While he discourages starting by asking what a poem means, he does encourage us to ask questions of the poems that catch our attention, For example, “Why was I struck by this poem?” What about this poem made us stop? “What gave us pause or pleasure? Was it the sound of the poem? Was it a certain memory the poem invoked or revived?” He then takes us through a very short poem (“This Is Just to Say”) by William Carlos Williams, considered previously and notices how each stanza is a literal room, adding to what has come before about eating plums another has set aside in the icebox. He asks questions about the structure, the line breaks, and the repeated “so.”

Before going further into technical matters, he invites us to think of poetry like a friendship. Like a friendship, poems travel with us through life. Along they way, they show us different things as we change and grow. Then Van Engen turns to form. He considers different forms and how form, rhyme schemes, and content interact. Another practice he encourages is erasing. For example, we erase all but the verbs. Or we isolate the requests in a prayer.

Then Van Engen explores how poets use words to name, the oblique ways they express truth. And he devotes two chapters on how poetry helps us rejoice with the rejoicing, and weep with the weeping. Poetry offers us language to express how glorious our life in the world can be, and how wretched. Finally, returning to Hopkins, “As Kingfishers Catch Fire,” he shows how poems enact life. Van Engen contends that as “the just man justices” so poems poem as we read and experience them.

In recent years, I’ve been on a journey of discovery poetry. Van Engen makes this so approachable, so enjoyable. He introduces us to forms and uses of words and more. Mostly, he invites us to read a lot of poetry, guiding us lightly, asking us questions to help us discover for ourselves the wonder of poetry. And for Christians, he tips us off to a rich vein of devotional material many of us may have neglected. He show us how poetry and the poetry of scripture may enhance and enlarge one another. Read this book if you are in the place of feeling both drawn and daunted by the call of poetry. Read this book with a group, using the group guide provided. I believe you will find that which pleases and enriches you and your friends for the journey.

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Disclosure of Material Connection: I received a complimentary copy of this book from the publisher for review.

Review: Poems on Nature

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Cover image of "Poems on Nature" by various poets.

Poems on Nature (Signature Select Classics), various authors. Sterling Publishing Co. (ISBN: 781454944768) 2022.

Summary: A chapbook of several dozen poems by the world’s greatest poets on the natural world, the air, the sea, and the land.

A book I’m reading on poetry right now advises that the best way to get into reading poetry is to read and notice what particularly arrests our attention and gives us pleasure.. So I decided to follow this advice with this delightful chapbook that a local bookstore threw in as an “extra” with my other purchases. Poems on Nature collects several dozen poems from some of the “greats” in poetry. These include Emily Dickinson, William Wordsworth, Paul Laurence Dunbar, Christina Rosetti, William Blake, Sara Teasdale, and many others.

The poems are organized around “Air,” “Sea,” and “Land.” I’ll mention one or two in each section that I particularly enjoyed. You’ll probably like different ones, and that is just fine!

Under “Air,” I delighted in revisiting Paul Laurence Dunbar’s “Sympathy” with its famous line “I know why the caged bird sings…” I had not encountered John Greenleaf Whittier’s “The Robin,” in which he recounts the words of an old Welshwoman explaining how the robin got its red breast. In addition, there are poems from Keats, Wordsworth, Shelley, and Yeats, and others.

“The Sea” poems evoked for me something of the sea’s mysterious character. Christina Rosetti in “By the Sea” asks “Why does the sea moan evermore?” By contrast, Thomas Campion celebrates the empire of Neptune in “A Hymn in Praise of Neptune.” Then Alfred, Lord Tennyson evokes our fears of sea creatures of the deeps in “The Kraken.” I’ve always found thought-provoking the image of the ebbing of “The Sea of Faith” in “Dover Beach.”

Finally, the section on “Land begins with Joyce Kilmer’s “Trees.” We all know the opening lines “I think that I shall never see / A poem lovely as a tree.” But do you remember her self-deprecating concluding lines: “Poems are made by fools like me, / But only God can make a tree”? Then Vachel Lindsay speaks for every homeowner in “The Dandelion” that is “rich and haughty.” It scorns the lawn-mower, even when its “yellow heads are cut away.” “By noon you raise a sea of stars / More golden than before.”

Sara Teasdale concludes the collection with “There will come soft rains (War Time).” She describes the coming of spring in a time of war. She concludes with a haunting pair of couplets:

Not one would mind, neither bird nor tree
If mankind perished utterly;

And Spring herself, when she woke at dawn
Would scarcely know that we are gone.

This should give give us all pause amid our hubristic pretensions.

Poems on Nature is ideal for gifts. The first page even has “to” and “from” lines for inscriptions. The chapbook format makes for easy carrying, more portable than an e-book. It is a great introduction to several dozen great poets without the bulky anthology. I really must thank my local bookseller!

Review: Contemporary Catholic Poetry

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Cover image of "Contemporary Catholic Poetry" edited by April Lindner and Ryan Wilson

Contemporary Catholic Poetry: An Anthology, Edited by April Lindner and Ryan Wilson. Paraclete Press (ISBN: 9781640606463), 2024.

Summary: An anthology of works in diverse styles, aesthetics, and forms from 23 Catholic poets born since 1950.

During the time I was savoring the poetry in this work, a friend of mine expressed the desire to read more poetry but didn’t know where to start. I suggested finding anthologies that allow one to sample the works of many poets to find those one likes. And this anthology is a great place to begin.

What is Contemporary Catholic Poetry? The editors define “contemporary” as born after 1950, writing between the mid-1970’s and the present. A “Catholic” is one who was baptized Catholic and has not renounced their faith. It does not have to do with content, which ranges widely over human experience. Nevertheless, the editors note that Catholic poetry may be characterized as having a sacramental view of reality. That is true of this collection. Finally, poetry covers a variety of forms. There is political and personal poetry; performative and meditative poetry.

In all, twenty-three poets appear in this anthology, organized alphabetically by last name with three to eight poems by each writer. The editors introduce each poet with a brief biography. A date appears at the end of each poem indicating when it was first published. Generally the works are shorter. Ned Balbo’s “Hart Island” is a notable exception spanning ten pages. He chronicles the history of this island off New York harbor that served as a prisoner of war camp, prison, “Madhouse, workhouse, women’s hospital.”

I cannot possibly summarize all the poets, even less all the works that appear here. Without intending to slight any, I’ll single out a few that caught my attention. I’ve long been familiar with the name of Dana Gioia, first poet to head the national Endowment for the Arts. But this is my first time to read his poetry, and I bought more of it as a result. In “Interrogations at Noon” he writes, “Just before noon I often hear a voice, / Cool and insistent, whispering in my head. / It is a better man I might have been, / Who chronicles the life I’ve never led.” I felt like he was listening to the voice in my head!

Julia Alvarez’s “Folding My Clothes” writes of the mother who carefully folded her clothes “which she found so much easier to love.” Marie Howe, in “Prayer” writes of all the aspirations and distractions any of us experience who try to pray. “Fontanel”, by April Lindner, a co-editor, is a tender meditation on the “Canvas-thin” “stretch of skin” on a newborn’s head whose skull bones have not yet fused. In “Castizo” by Orlando Ricardo Menes, the poet reflects on his mother’s aspirations that he prove himself of “good stock,” unlike his father, a manual laborer. Instead, he asserts that all our handiwork “is charged with grace.”

I liked Daniel Tobin’s work. “Aftermath” is a spare reflection on 9/11. He likens the ascent of souls to the pervasive ashes visible in the floodlit night. David Yezzi, the last poet in this collection reflects on the triumph of weeds in his garden and words of his grandmother.

In summary, the editors speak of giving this book as a gift, hoping it will be a welcome one. I certainly found it so on many levels. It introduced me to some great poets I hope to read more of. The poems both evoked realities I’ve not experienced and resonated with ones that I have. Finally, like so many great poems, these served as windows offering glimpses of transcendent realities in the commonplaces of life.

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Disclosure of Material Connection: I received a complimentary copy of this book from the publisher for review.

Review: Dream Work

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Cover image of "Dream Work" by Mary Oliver

Dream Work, Mary Oliver. Atlantic Monthly Press (ISBN: 9780871130693) 1986.

Summary: Poetry of Mary Oliver running the gamut from dogfish to Dachau, from starfish to Orion, and Robert Schumann to Stanley Kunitz.

It seemed fitting to read a collection of the poetry of Mary Oliver in the month of her birth. Dream Work follows Oliver’s Pulitzer winning American Primitive. Like much of her writing, Oliver’s poetry moves from the commonplaces of the natural world like dogfish, geese, starfish, and marsh hawks to remind us of the transcendent, our evanescent existence and the existential questions that endure.

She juxtaposes tiny dogfish with a cri de coeur “to know / whoever I was, I was / alive / for a little while.” She sees the rising sun over a pond of blazing lilies as “a prayer heard and answered / lavishly, / every morning”. Wild trilliums on the hillside contrast with the lack of tenderness of childhood’s ambiguities and the difficult years.

“Dreams” captures the “Dream Work” of this collection’s title. Dreams are likened to budding flowers with a letter at the center of each that eludes the waking self. “Whispers” describes the elusive “heaven of sensation” from which she finds herself held back. Then in “Members of the Tribe” she lists artists, her tribe, who lived between madness and genius. Yet it is not their unhappiness she cannot forgive but the “hurtling / toward oblivion / on the sharp blades of their exquisite poems, saying: / this is the way.“

“Robert Schumann” exemplifies madness in art, thought of by her every day in his lifelong struggle with madness. Yet there was the brief moment when Clara first came into his life. Because of this poem, I had to look up the story of Schumann, who composed brilliantly between fits of madness. On the other hand, there is “Stanley Kunitz.” Likening his work to a beautiful garden effortlessly blossoming, she now understands the toils behind the beauty.

However, it is often the commonplace that speaks most deeply. For example, in “Landscape” she listens each morning to the mosses and the black oaks around her pond. If she closes her heart to them, she is “as good as dead.” Or an approach of a thunderstorm reminds her of how the normalcy of life may be shattered in an instant.

Some of the poetry is darker. For instance “Rage” describes the sexual abuse of a child in chilling terms (Oliver suffered sexual abuse as a child). In a poem written on the fortieth anniversary of the revealing of the German camps, she struggles with the incongruity of forest scenes, mountains of bodies and Mengele enjoying a gourmet meal.

Yet she cannot end here. Rather, the collection concludes with “The Sunflowers” that invite us into the fields to listen to their stories. Amid ugly realities, Oliver points us to a deeper magic. She cannot always find the words. But there is something to be heard.

Review: Dear Dante

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Cover image of "Dear Dante" by Angela Alaimo O'Donnell

Dear Dante, Angela Alaimo O’Donnell. Iron Pen | Paraclete Press (ISBN: 9781640609372), 2024.

Summary: An imagined conversation with Dante responding to the three sections of the Divine Comedy in sonnets and terza rima.

On the 700th anniversary of Dante’s death, Angela Alaimo O’Donnell set herself a goal of reading through the Divine Comedy in three months. As she read, she wrote a series of poetic responses. She engaged Dante in the forms he used, the sonnet and terza rima. In all, she wrote 42 poems: a Prologue, thirteen poems for each of the three sections, and an Epilogue of two poems. A quote introduces each canto to which she is responding.

Commenting on the poems, she writes:

“Some of the poems I wrote endorse and enlarge on Dante’s vision, others challenge it, and still others reject it out of hand. In these poems, I dare to differ with Dante–an intellectual, spiritual, and artistic act that creates a space for encounter with the master poet, acknowledging a tension that isn’t easily resolved” (p. 9).

From Inferno IV she reflects on what Christ would have thought of Dante’s hell and wonders how the Savior who forgave so many sinners could approve eternal punishment. She wonders if Jesus would have grieved the sinners he failed to retrieve.

Inferno XII describes Dante’s encounter with the bloody river. She equates this with anger and reflects on how anger can be both a pleasure and a cage.

In Purgatorio IX, O’Donnell reflects how we cannot go through Hell, Purgatory, or heaven unchanged. And there is no turning back to what we were. For Christ, however, though he knows of Purgatory, he cannot go through it as the sinless one. And Virgil, Dante’s guide through Hell and Purgatory, cannot join Dante in passing the gates to Heaven. O’Donnell reflects upon the greatness of his sacrifice.

Heaven is not all sublime for Dante. He grasps the folly of humans who do what they are not supposed to do, Yet they look for mercy undeserved. When Beatrice leaves in Paradiso XXXIII, O’Donnell chides him that he is surprised. He forgets the lessons learned in Hell and Purgatory that we never get what we expect.

O’Donnell ends her reflections with “Dante’s Bargain.” a sonnet. She observes: “His tale of exile and his tears, / the lifetime that he spent / composing lines, creating rhymes / to make the perfect poem / have all survived the test of time.”

While Dante’s time differs from ours, O’Donnell introduces us to the magnificence of the Divine Comedy. And she voices the ways it may seem strange to our ears. I never got past Inferno in my own reading of Dante. O’Donnell has served as a kind of Virgil. Perhaps she will get me to the gates of Paradiso. And who will be the Beatrice to meet me there?

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Disclosure of Material Connection: I received a complimentary copy of this book from the publisher for review.

Review: Diary of an Old Soul

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Cover image of "Diary of an Old Soul by George MacDonald, Introduction and notes by Timothy Larsen.

Diary of an Old Soul, George MacDonald, with introduction and notes by Timothy Larsen. IVP Academic (ISBN: 9781514007686), 2024 (originally published in 1880).

Summary: A new edition of MacDonald’s extended devotional poem, with seven line stanzas for each day of the year.

In 1880, George MacDonald, the prolific fantasy writer, published a work he titled A Book of Strife in the Form of a Diary of an Old Soul. He intended the book as a gift to friends, assuming the cost of publication. As historian Timothy Larsen notes in the Introduction, devotional works were common during this time, supplementing daily Bible readings with spiritual reflections. What MacDonald did was write an extended poem broken into 365 seven line stanzas. Opposite the poems, he provided a blank page for the reader to write his or her own reflections, which would become part of the work.

The New Edition

IVP Academic has just published a new edition of this work. Unlike later versions, this edition preserves the interleaving of blank pages with the poem with one to three stanzas on a page with a blank page opposite. Wheaton historian Timothy Larsen, drawing upon the resources of the Marion E. Wade Center, provides an introduction to the life, context, and content of The Diary. He also lightly annotates the work, mainly defining unusual words and giving context for some allusions. I appreciated the unobtrusive character of the notes. They did not distract from the text. The IVP edition is 4.25 x 7 inches in size, with a cloth binding and bookmark ribbon, ideal for devotional use.

The Poem

The original first part of MacDonald’s title gives us a clue to the character of the poem. MacDonald portrays the strife of the soul against sin, spiritual inertia, and the vicissitudes of life, in order to love God as one would desire. This is not for lack of his intimacy with God but because of it. That intimacy is evident in these lines from January 5:

My soul breathes only in thy infinite soul;
I breathe, I think, I love, I live but thee.
Oh breathe, oh think--O Love, live into me;
Unworthy is my life till all divine,
Till thou see in me only what is thine.

The poem does not follow the liturgical year. MacDonald was from a Low Church background. He makes an exception only for Christmas, which he loved. Rather, his poems sometimes follow the circumstances of his own life: the memory of a lost child, the loss of a home due to straitened finances, or even a rainy, gloomy spring.

Given the extended poem nature of the work, consecutive stanzas are often thematically related. The stanzas for August 21-23, for example, focus on our forgetfulness of God. He observes how often our thoughts are upon other things than God. While he recognizes that this reflects his own finitude, he does not want to fall into sin. Rather, he longs to never stray far from God though not always conscious of God.

The verses remind us of God’s utter sufficiency and our utter dependence upon him in every moment, in our living, aging, and dying. This verse, from August 6 is a good example:

O Father, thou art my eternity.
Not on the clasp Of consciousness--on thee
My life depends; and I can well afford
All to forget, so thou remember, Lord.
In thee I rest; in sleep thou dost me fold,
In thee I labour; still in thee, grow old;
And dying, shall I not find in thee, my Life, be bold?

Using The Diary

Unlike my reading for this review, The Diary is best read one stanza a day. That said, be aware of the stanzas before and after. Timothy Larsen suggests his own practice of reading and re-reading each day’s reading. To this I would add turning your reading into prayers. And use the blank pages to crystallize your own thoughts and impressions. Just as in our reading of scripture, some passages will resonate more deeply at a given time. I suspect one may come back to this in another year and connect with a very different set of verses.

Even in my initial read-through, MacDonald caught my attention at numerous points. On December 23, for example, he speaks of the loneliness of God. That’s one I want to think about further! What makes The Diary so good is that MacDonald gives voice to all the seasons of our spiritual journey, not just the exalted times. In doing so, he often provides words for us in the times our own words fail us. What a gift this must have been to his friends!

[I will be interviewing Timothy Larsen, who introduced and annotated this work on July 9, 1 pm ET. If you are interested in listening to the live interview, sign up for the weblink here.]

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Disclosure of Material Connection: I received a complimentary copy of this book from the publisher for review.

The Weekly Wrap: June 30-July 6

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person wrapping a book

“You are never alone with a poet in your pocket.”

John Adams, who spent hours on horseback during the American fight for independence, found pleasant diversion in poetry he read along the way. Maybe it’s a sign of age but I’ve come to find myself of a mind with Adams on this one. Currently, I’m reading through Diary of an Old Soul by George MacDonald. The Diary consists of 365 seven line poems, one for each day. They are devotional in character, and chronicle MacDonald’s honest struggle to love God as he would, and amazement that he is nevertheless loved.

I never made it through the Divine Comedy. In Dear Dante, Angela Alaimo O’Donnell offers poetic responses to Dante that inspire me to try again. And if you remember, I recently read a collection of poems by 95 year-old Luci Shaw. I wonder if writing poetry is a key to a long life. At very least, poems do remind us of our shared human experience, that we are not alone, as Adams observed.

Five Articles Worth Reading

I love a good mystery. There are classic writers I love. The question is finding new ones. “4 Great Fictional Detectives” gave me some good ideas of new writers to explore.

There is a loneliness epidemic, and sometimes poems are not enough! In “Hungry for Connection: Addressing Loneliness Through the Library” I learned how librarians across the country are helping people find the opportunity for connection.

Barnes & Noble, which has experienced a major turnaround under CEO James Daunt has just rescued a venerable Denver institution, The Tattered Cover, whose parent company is in bankruptcy proceedings. “Tattered Cover will chart its own course, says Barnes & Noble CEO on bookstore’s sale” details Daunt’s recent visit to the store, his commitment to maintain the Tattered Cover name and ethos while providing the resources “to figure out how it becomes Tattered Cover again.”

Richard Hughes Gibson argues in “The New Verbal Economy” that reports of the death of the writer with the advent of generative AI are greatly exaggerated. The technology needs the creativity of human writers to continue to develop. Still, I wonder whether we will find a way in this new economy to reward human writers. And as AI improves, will people still prefer the works of humans?

I love keeping up with science writing. One way I do that is to subscribe to the daily newsletter of Nature. On many Fridays, Andrew Robinson reviews five of the best science picks recently published. Here is this week’s: “Blooming plants and sunken cities, Books in brief.”

Quote of the Week

Nathaniel Hawthorne, whose birthday we marked on July 4th, made this pithy observation:

“A pure hand needs no glove to cover it.”

How we could use more people like this!

Miscellaneous Musings

I’ve been reading The Social Life of Books: Reading Together in the Eighteenth-Century Home by Abigail Williams. She offers a fascinating study of reading practices in the 1700s. One tip: elocution was considered a valued skill! I wonder what a future cultural historian might write about reading practices in our century.

Here’s a reviewer’s dilemma. I love losing myself in a long book, but it also takes longer to finish such books. The best I’ve been able to figure out is to have several books going, including a mix of shorter ones.

I’ve just started Jessica Hooten Wilson’s annotated edition of an unfinished novel by Flannery O’Connor, Why Do The Heathen Rage? Apparently, O’Connor never saw how the story could come together, including how to organize the pieces of it. It seems that Jessica Hooten Wilson has taken on quite a challenge, one other scholars have passed up. I look forward to seeing how she does. But from the little I’ve read, it’s pure Flannery O’Connor!

Well, that’s The Weekly Wrap for this week!

Past editions of The Weekly Wrap may be accessed under The Weekly Wrap heading on this page.

Review: Reversing Entropy

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Cover image of "Reversing Empathy" by Luci Shaw

Reversing Entropy, Luci Shaw. Paraclete Press (ISBN: 9781640608702), 2024.

Summary: Poems that address the decay in the physical world and how human creativity and transcendent hope reverses entropy.

The second law of thermodynamics observes that the amount of disorder in any physical system will increase over time. Only the introduction of energy can counter the increase of disorder and decay. Luci Shaw, at 95, is a keen observer of the physical world as well as the changes we experience in our own bodies and much of this shows up in the poetry in this collection.

One of the delights is that Shaw observes what we often see only in passing. She celebrates the first star at night visible through her skylight. She notices the dance of the lichens. Many of her poems chronicle the drives she and her husband take. She observes the entropy of the autumn, the fall of gingko leaves, the single leaf pinned to the windshield.

Human creativity in music, the arts, writing and other ways help reverse the entropy in our human communities. Some of her poems share her creative process “when the words begin to arrive.” She likens poetry to laundering and describes filling the “fresh, clean page.”

Part three of the collection includes several exquisite poems on Mary and the incarnation, including one poem on “Mary’s sword.” Part four include more poems on the title theme. She captures, in “Energy Entropy” the dance between these two in all of our existence: “Pair the antonyms/energy and entropy,/unusual partners/twinned in the making of love,/to join with all the unmaking/and remaking within/the fluid universe.”

The title poem of the fifth part is “Love in a Time of Plague,’ and captures the healing of what was lost when we could unmask, and behold, and converse with each other. The sixth part deals with the ultimate expression of entropy, death. Vulnerably, she recounts both her brother’s failings, and of speaking and listening over the phone as he breathes his last, and the unfolding of grief. And here, she leans into the ultimate reversing of entropy, the Great Dance of heaven, the dawn of Light, the renewal of all that is only dimly foreshadowed in the creation and our own efforts to forestall entropy.

Shaw reminds us of the wonder of our lives in our world amid entropy’s relentless incursion. Her daily celebration of the quotidian beauties around us rolls entropy back, at least a bit. And her hope in the “deeper magic,” as C.S. Lewis would express it, stakes out a claim to the final reversal of entropy for which we all long. And what a gift to us that she wrote these poems around her 95th year!

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Disclosure of Material Connection: I received a complimentary copy of this book from the publisher for review.

Review: Mountain Offerings

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Mountain Offerings, Amy Allen. Montpelier, VT: Rootstock Publishing, 2024.

Summary: A chapbook of narrative verse capturing memories of childhood, summer vacations in the mountains, growing love, parenting, and loss.

It is a wonderful thing when a writer’s work draws us into a different world than our own and yet evokes analogue memories in our own lives. That’s what I found happening repeatedly in this chapbook of poems by Amy Allen, a freelance editor and writer from Vermont.

We are invited into the world of Vermont, a state I’ve only driven through. One of her early poems even celebrates folk singer Noah Kahan’s unofficial anthem (I had to Google it!) for Vermont and the weird love we can have for our home state–maybe not so weird. She celebrates both its obvious and subtler beauties in “Pilgrimage.” There are the memories of arriving at a summer cabin in June, with all the summer ahead, and early winter sunsets over Lake Champlain after which “The stars shine brightest/on the coldest of days.”

We have a young couple sharing a “Tiny House” in mud season or climbing a mountain together to the summit and a knowledge of each other forged “without ever touching.” In “Gathering,” the couple watches their daughter gather pine cones while studying one together. Later she finds he has left one on the bedstand as she slides under the covers next to him. A couple of poems remember what seems to have been their daughter in a serious medical emergency–a greenhouse that gave respite and the implied understandings in family lounges. “Daughter of Mine” captures the moment one realizes the transition of the daughter toward adulthood, toward being her own unique person, a marvel and a mystery.

Allen traces the seasons of life, including the cleaning out of a parent’s house in “My Mother’s Flowers.” She describes “Heavy-lidded casserole dishes/cookbooks with margin notes/penciled in her cursive/framed photos of ourselves/leather handbags we’d given her on birthdays/three unopened jars of her face cream/I wondered when I’d forget that smell.” Many of us, if we reached a certain age, carry memories like this.

Sure, these poems evoke memories from childhood summers to flirtations and deepening loves, to the joys and heartbreaking moments of parenthood. She calls to mind those special places of our lives. More than this, she reminds me, in the words of Mary Oliver of our “one wild and precious life.” In most of the poems we remember analogues from our own lives, but in “Hope is a Voice” she reminded us of our shared experience of the dark days of January 2021 and the moment a young woman in a yellow coat invited us to step toward the light as she reminded us of “the hill we must climb.” In Mountain Offerings, Amy Allen reminds us in times of innocence, wonder, sadness, intimacy, and hope of all that is precious in our passing lives.

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Disclosure of Material Connection: I received a complimentary copy of this book for review from the publisher through LibraryThing’s Early Reviewers program.

Review: Paul Laurence Dunbar

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Paul Laurence Dunbar: The Life and Times of a Caged Bird, Gene Andrew Jarrett. Princeton, NJ: Princeton University Press, 2022.

Summary: Perhaps the definitive biography of Paul Laurence Dunbar, one of the first African writers to achieve fame for his poetry and other writings.

On the sesquicentennial of the birth of Paul Laurence Dunbar (b. 1872), Princeton University published this extensively researched biography of a man who, arguably was one of the first great African-American poets and writers. Born of former slaves, including an alcoholic father who soon divorced his mother Mathilda, he was able to enroll in Dayton’s top high school when few African-Americans achieved more than an eighth grade education. A classmate of Orville Wright, being educated in a classically-oriented curriculum, he began writing, teaming up on several publishing efforts with Wright.

Dunbar gained the attention of influential men like James Whitcomb Riley and Frederick Douglas early on, giving him connections, the opportunities to read his poetry, and reviewing his books. This was a mixed blessing. Fellow Ohioan William Dean Howells praised an early collection of his poetry, bringing him wider notice of the literary public but also imposing the first of the “cages” Jarrett depicts that would trouble his brief, yet brilliant career.

Dialect poetry. Howells especially praised his dialect poetry, often around scenes of southern life pre- and post-Emancipation in the language and idioms people supposed Blacks to use. Throughout his career Dunbar composed poems both in formal English and dialect, the latter to satisfy the demand of the public. This also represented a larger struggle against the racial stereotypes that both shaped public taste and yet Dunbar strove to transcend. He wanted to be known simply as a great poet, not as a Black poet.

Poverty. While publishing his first collections and trying to cultivate connections who would help publicize his work, Dunbar struggled with lowly jobs such as an elevator operator in Dayton, earning a meager $4 a week while trying to help his mother. Poverty would be a cage against which he would struggle, shaping his efforts both in writing prodigiously for papers, periodicals, several musicals, one of the early Black librettists, as well as his book publishing efforts. This also necessitated relentless travel to readings, all while working at the Library of Congress, efforts detrimental to his health.

Alcoholism. Like his father, Dunbar drank increasingly throughout his life. On the one hand, it seemed to facilitate his composing, as when he turned out a school song for Tuskegee Institute on short notice and, increasingly hampered his readings when he turned up drunk. It also released violent tendencies exacerbating problems in an already troubled marriage.

A difficult marriage. Fellow writer Alice Ruth Moore came to his notice in a magazine article and they began writing, developing a deepening bond long before they met. At this time, as throughout his life, Dunbar had flirtations (and perhaps more) with a number of other woman. For this reason, she was slow to engage, and then to set a date for a wedding. Neither her parents nor Mathilda would give the couple their blessing (and Mathilda would occupy an unhealthy place in their eventual marriage). Jarrett covers at length Dunbar’s rape of Alice (when inebriated) during their engagement. Apparently she had physical injuries requiring medical attention and leave from work. It nearly broke the engagement. After several years of marriage, there was another violent incident, leading to permanent separation (though not divorce) during which she refused to respond to his attempts to apologize and reconcile. Dunbar, in declining health, purchased a home in Dayton. living with his mother.

Tuberculosis. Through most of his adult life, Dunbar was in frail health, frequently laid low by “colds” that signaled something more. Eventually, it became clear he was sick with what was then called “consumption” and is now known as tuberculosis. During his life, before the age of antibiotics, there wasn’t a cure. Dunbar even rationalized drinking as curative. A trip to Colorado brought a remission, but after his break with Alice, his condition worsened. All he could do was read and write. The end came in February of 1906, when he was but 33 years of age. He was buried in a different part of the same cemetery where his father was buried.

Jarrett not only covers the “cages” of Dunbar’s life but also how the caged bird sang. He traces his literary career, citing a number of poems. He traces Dunbar’s transition to writing several moderately successful novels as well as the previously mentioned musical collaborations. One wonders what Dunbar would have done had he lived longer or not faced the constraints he had. Yet were these constraints the very thing that drove and inspired Dunbar?

As a fellow Ohioan, I knew of Dunbar but welcome what is probably the definitive biography on Dunbar. Jarrett confirmed to me the extent of Dunbar’s greatness. He also confirmed me in his recognition of his and my favorite Dunbar poem, “We Wear the Mask,” and arguably one of his greatest, with which I will close:

  We wear the mask that grins and lies,
  It hides our cheeks and shades our eyes,—
  This debt we pay to human guile;
  With torn and bleeding hearts we smile,
  And mouth with myriad subtleties.
  Why should the world be over-wise,
  In counting all our tears and sighs?
  Nay, let them only see us, while
        We wear the mask.
  We smile, but, O great Christ, our cries
  To thee from tortured souls arise.
  We sing, but oh the clay is vile
  Beneath our feet, and long the mile;
  But let the world dream otherwise,
        We wear the mask!

Paul Laurence. Dunbar, “We Wear the Mask.” from The Complete Poems of Paul Laurence Dunbar. (New York: Dodd, Mead and Company, ) via Poetry Foundation