by Hoyt Rogers ‧ RELEASE DATE: Oct. 5, 2023
An introspective and occasionally esoteric collection that invites contemplation.
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Rogers shares a series of poems about impermanence.
This collection of lyrical poetry offers musings on nature, relationships, and endings. He opens with “Reef,” a reflection on love that toggles between the complex beauty of the ocean and the inevitability of losing a beloved: “I can hold you, but not hold you back,” he writes. In “Vireos,” he considers how words can salvage hope, but also betray, and how silence can be a language all its own. The fragile, ephemeral nature of love and the tension between connection and distance are the foci of “Letters,” in which the speaker meditates on a relationship of mutual longing in which “We / taunt each other like granite cliffs, both of us unreachable.” “Transit” explores the fleeting nature of existence—how all that one does is destined to fade into obscurity in an indifferent world: “Imagine how we’re invented but replaced—our chronicles, our / fables swept away with us.” “Beginning Again” is more hopeful, even as it highlights the repetition of life, suggesting that happiness is infinitely renewable in nature and in love. Recounting another’s misfortune in “Outpost,” a speaker tells of a young man who traveled to a remote Arctic post without an exit strategy. The man basked in the beauty of the spring and summer months, only to find himself starving and barricading himself against bears. Ultimately, the man died by carrying out a death plan detailed in his journal; his solitude, which was appealing at the start of his adventure, meant that there was “no one to hear his final words or touch him in the gray October light.” By the book’s close, it seems that Rogers has surrendered, too, writing, “All right, have it your way: I ask for no tomorrow” (“Gifts”).
Rogers’ contemplative style blends lyricism with philosophical meditation, making this an emotionally intriguing and intellectually stimulating collection. The poet vulnerably explores loss, as in a poem about a deceased sister. Rogers is astute when it comes to scene-setting: “I drowsed behind wooden blinds, cradled by / viscous heat. The gray-green slats swayed to and fro; their / silhouettes inched across the bed” (“Reef”). His connection to the natural world is visceral and immersive in lines such as these from “Reflections”: “We slip from the dock. / Floating with the clouds, our bodies drift on blackened glass, / reflections among reflections.” Other lines expertly evoke the exhilaration of love, but he also deftly navigates the gray area between two people: “Heart of stone, I called you. If only we could love each other / now in that silent, hopeless way, stone against stone, light / against light.” However, the dense nature of the poetry’s philosophical themes may make the book inaccessible to more casual readers. Other works are so abstract that they require multiple readings to wager a guess at their meaning: “The metaphor droops and wilts; the actual ocean snips their / dwindling hooves. // The only tendons here are ours, rebounding to the gun-smoke / of freedom” (“Nightbreak”).
An introspective and occasionally esoteric collection that invites contemplation.Pub Date: Oct. 5, 2023
ISBN: 9781952335648
Page Count: 90
Publisher: MadHat Press
Review Posted Online: Nov. 16, 2024
Review Program: Kirkus Indie
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by Philippe Claudel & translated by Hoyt Rogers
by Amy Tan ; illustrated by Amy Tan ‧ RELEASE DATE: April 23, 2024
An ebullient nature lover’s paean to birds.
A charming bird journey with the bestselling author.
In his introduction to Tan’s “nature journal,” David Allen Sibley, the acclaimed ornithologist, nails the spirit of this book: a “collection of delightfully quirky, thoughtful, and personal observations of birds in sketches and words.” For years, Tan has looked out on her California backyard “paradise”—oaks, periwinkle vines, birch, Japanese maple, fuchsia shrubs—observing more than 60 species of birds, and she fashions her findings into delightful and approachable journal excerpts, accompanied by her gorgeous color sketches. As the entries—“a record of my life”—move along, the author becomes more adept at identifying and capturing them with words and pencils. Her first entry is September 16, 2017: Shortly after putting up hummingbird feeders, one of the tiny, delicate creatures landed on her hand and fed. “We have a relationship,” she writes. “I am in love.” By August 2018, her backyard “has become a menagerie of fledglings…all learning to fly.” Day by day, she has continued to learn more about the birds, their activities, and how she should relate to them; she also admits mistakes when they occur. In December 2018, she was excited to observe a Townsend’s Warbler—“Omigod! It’s looking at me. Displeased expression.” Battling pesky squirrels, Tan deployed Hot Pepper Suet to keep them away, and she deterred crows by hanging a fake one upside down. The author also declared war on outdoor cats when she learned they kill more than 1 billion birds per year. In May 2019, she notes that she spends $250 per month on beetle larvae. In June 2019, she confesses “spending more hours a day staring at birds than writing. How can I not?” Her last entry, on December 15, 2022, celebrates when an eating bird pauses, “looks and acknowledges I am there.”
An ebullient nature lover’s paean to birds.Pub Date: April 23, 2024
ISBN: 9780593536131
Page Count: 320
Publisher: Knopf
Review Posted Online: Jan. 19, 2024
Kirkus Reviews Issue: Feb. 15, 2024
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IndieBound Bestseller
by Steve Martin illustrated by Harry Bliss ‧ RELEASE DATE: Nov. 17, 2020
A virtuoso performance and an ode to an undervalued medium created by two talented artists.
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IndieBound Bestseller
The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.
Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.
A virtuoso performance and an ode to an undervalued medium created by two talented artists.Pub Date: Nov. 17, 2020
ISBN: 978-1-250-26289-9
Page Count: 272
Publisher: Celadon Books
Review Posted Online: Aug. 30, 2020
Kirkus Reviews Issue: Sept. 15, 2020
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by Steve Martin & illustrated by C.F. Payne
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