Elizabeth Marie Young, Aim Straight at the Fountain and Press Vaporize

Most imaginative, to the point of popping your threshold for poetic tolerance and casual comprehension, Elizabeth Marie Young’s Aim Straight at the Fountain and Press Vaporize is not so interested in rhyme schemes or concise line breaks, but more with perfecting a mini-narrative flow. Each poem in this sequence is packed to the brim with almost illicit words and inscapes—a mixture of the fantastical and the quasi-theoretical. Winner of the 2009 Motherwell Prize, this poet and classicist shares her slippery creations of both dialectical and intellectual composition. Some might find themselves on a word-starved journey towards an alienating escapism or double-take. More »

Douglas Kearney, The Black Automaton

Selected by the poet Catherine Wagner, The Black Automaton is deserving of its title as the winner of the 2008 National Poetry Series, for it speaks (no, it blasts and shakes) both to the current events of today and the WTF maelstroms of yesterday. Do you need an ark or a battleship or a parachute or a fiery torch to end up on the other side? It couldn’t hurt. Kearney’s pages couple eloquent craft with a tremor of an unforeseeable change, for better or worse. There are different kinds of anger, and there are kinds that appear on the page. Despite the propaganda encircling this emotion, I consider Douglas Kearney’s work to be both ”beautiful and above all, useful.” More »

Jacob Wren, Families Are Formed Through Copulation

Some books are meant to be taken seriously, some are meant to make you take yourself seriously, and some to make you question the validity of seriousness all together. Jacob Wren’s Families Are Formed Through Copulation is all of these things. Wren’s perspective shifts with the moodiness of someone terminally affected, wounded by the unreasonable demands that our world places on us: to be a functioning member of society who gives back what one has taken, to be responsible for one’s actions, to never become angry or lash out from the weight of life’s unfairness and lies, to have ”regular,” practical goals such as having a nice-sized home, a lush fenced-in backyard overgrown with organic fruits and vegetables, an upstanding occupation, and more importantly, to have children. More »

Andrea Lambert, Jet Set Desolate

Investigating a difficult time in a difficult place (California: post-millennium), Andrea Lambert’s debut novel Jet Set Desolate is a minor flashback into the unstable, patchy American mode de la vie of a fictional character named Lena Cosentino. Writing from the po-mo perspective of a lone woman in her early thirties, the now alcoholic (although nothing in comparison to Lena’s past bouts with more serious narcotics and other not-so-wise socio-sexual diversions … some worthy of attention, some blown out of proportion) grapples with the remainders of her memories and desires, her failure to assimilate to what America expects of her. Written primarily from Lena’s first-person perspective, the reader is allowed to view Lena’s Bay Area on-the-fringe, bohemian-punk existence firsthand but in retrospect. The reader is reminded of the beginnings of various popular realities that are now well-known to many in their late 20’s or early 30’s—many at-a-loss post-grads from somewhat respectable liberal arts colleges and/or art schools that haven’t exactly panned out like they promised. More »

Amina Cain, I Go To Some Hollow

These fifteen brief stories press the modern reader to examine both their direct and indirect relationship with the external world, through a number of subtle and at other times provocative devices. Amina Cain writes in “Black Wings,” “It is hot and humid and we are reading Lolita. After we read for a while we take a bike ride, and when we are tired we get off our bikes and sit against a concrete wall.” At first glance, this appears to be an unassuming reference to just another book of the past, yet for those who have read Nabokov, we know its literary weight and are sure to be stirred, if not strangely aroused by this juxtaposition of Lolita to the bicycle—the one tool every blooming adolescent recognizes as synonymous with liberation, movement and exploration. More »

Harold Abramowitz, Dear Dearly Departed

Beginning and ending with the same phrase “Dear Dearly Departed” to a lengthy yet necessary missive to an unknown listener, much is to be expected in between the point of entrance and exit, though the book’s sheer magnitude is difficult to decipher, yet prevailing. Harold Abramowitz’s second book (following his earlier chapbook Three Column Table) utilizes repetitions, short and brash lines, declarations of feelings and slippery absolutisms, as well as follows through with an examination of numerous dichotomies—such as lover-enemy, absence-presence, life-death, love-hate, progress-regression, man-woman, child-adult, order-chaos, ad infinitum. Abramowitz has the reader on a sophisticated escapade; your ride is sure to be eloquent and well-deliberated. Dear Dearly Departed is one exploded paragraph—though not to be confused with Vanessa Place’s 50,000 word, run-on sentence of a novel Dies: A Sentence. Yet, both works of art can be considered avant-garde, in that they push the interpreter into fresh literary architectures, if even somewhat uncomfortable, as well as breaking through previous notions of what a poetic body of work needs to investigate and via what avenues and methods of dissection. More »

James Shea, Star in the Eye

Star in the Eye is true to itself and to the heavier emotions that stem from awkwardness, transition, rejection, resignation, lost time and memory. Recent winner of The Fence Modern Poets Series, it is easy to understand why this one was chosen among its stealthy competition. James Shea’s thoughts are carefully constructed so that they become valuable to anyone, not just devoted poetry followers or even those who craft words themselves. Certain lines are so effectual and familiar—especially to those who question every iota, including their own flecks in and of the world—that Shea lets them stand alone: “Here, place me wherever.” Perhaps more guarded than their surrounding clusters, perhaps not, lines such as this one press the reader to denounce previous conclusions or reject the roles of others around them. Or: maybe this line refers to the collective sentiment of our spent generation… taking whatever job or role we can. There’s little room to be picky in an era similar to last century’s stifling Depression; there’s little room left after excessive technological spews, media binges, flagrant consumerism. More »

Vanessa Place, La Medusa

La Medusa and the sprawlish, sweltering city of Los Angeles are both shifty terrains for recurring exploration, and the brave minds of both those who inhabit and delve into these parallel universes are not short of a challenge. Much like the mythological horror and fascination of Medusa herself, this novel carries the weight of its fate—to be loved by those who relate to its labyrinthine thread of excess and perhaps despised by those who fail to comprehend and revere the beauty and sheer force of such a charming, deadly siren. The Gorgon Medusa is also commonly associated with female rage and maliciousness, but who is say whether or not Los Angeles possesses the spirit of such a venomous persona, or if this city and its migrant souls are just misunderstood? More »

Maxi Kim, One Break, a Thousand Blows!

One of a series of nine carefully commissioned bodies of work, Stewart Home chose One Break, A Thousand Blows! as part of a historical tribute to a previous tendency to choose more difficult, less obvious texts, highlighting the more non-commercialized, avant garde tendencies of the mid-twentieth century’s Beat Generation or the somewhat tedious constraint-based Oulipian dialectics. This novel—like many bubbling up in this millennium—is tainted in a good way, clouded with previous literary influences, wary of outright acceptance by a quaint populace. One Break can be frustrating, for it could be interpreted that Kim does not care whether or not the reader hears the joke or the punch line. A drum roll doesn’t always lead to humor, and humor is sometimes far from appropriate. More »