An elegantly chaotic collection of Space Age verses.
Christain makes meaning from the fragments of dystopia in her second poetry collection.
“Never model a love on the extinction of a species,” cautions one speaker at the end of a poem late in this collection, which finds its vernacular in a world collapsing in a cloud of technology, religion, pop culture, and astrophysics. The poems discover metaphors for love in the imagery of SF, as in the inaugural piece, “Heaven Is a Soundstage Meant To Make Drugged Soldiers More Fearless”: “That’s mine, I scream as a red lever appears under my armpit, and she knows to pull it. / I’d like to think that means my cloned body on another planet actually hooked up with her.” Alienation and queer longing seek articulation in wide-ranging references to cartoons, conspiracy theories, hip-hop, biblical eschatology, cinema, and the occult. The isolation of outer space (and art about this emptiness) reappears again and again, as when Christain invokes the frozen body of an Earth-destroying comet: “Someone could share my same center of mass now without pretensions, but I’m misting out chemicals to hide myself so I won’t have to kill anyone.” Elsewhere, the poet contemplates the iconoclasm of new technology with gleeful disdain: “Though I destroyed the Buddhist ruins, / the 3D light projection replacement / was going to create many jobs, but no one else saw it that way.” Like the points of light that revivify a dead performer in this verse, Christain’s poems find organic life in the clips and blips of the digital present.
Throughout this book, the poet’s works have an unpredictable energy, marrying hyperspecific language with surprising leaps in image and tone. There are misheard lyrics, erasures made from news stories, extensive footnotes, and well-deployed (and often obscure) epigraphs. She’s frequently funny, but the phantasmagoria works better when the underlying emotions are sincere, as here, where the vacuum of space is the void between human bodies: “She said our sun entered into it, its plasma crossing with Saturn’s plasma….The electric discharge became a ladder to Earth, and this, she had to press into me, has everything to do with us now, and how no baby is ever a mistake.” At another point, the now-ancient technology of an instant messenger bridges the same void: “When I was in the tenth grade, / an older woman in a chat room asked, / What do you want to do? / and I wrote Just hold you.” Other standouts in this collection include “Retrieval Structure” (“If you were trying not to stumble into anything too sharp…how did you?”), “Coral Castle: The Tent of Meaning,” “Music Used Against the Enemy,” and “I Need You To Make Me My Own Dinosaur, But It Must Have Feathers,” which yields the quote about extinction noted above. (Needless to say, Christain clearly enjoys wordy titles.) Although these works do not give up their meanings easily, they are messy and intricate in a way that draws the reader deep inside.
An elegantly chaotic collection of Space Age verses.Pub Date: Oct. 1, 2021
ISBN: 978-1-73582-364-5
Page Count: 104
Publisher: Headmistress Press
Review Posted Online: Jan. 7, 2022
Kirkus Reviews Issue: Feb. 15, 2022
Review Program: Kirkus Indie
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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