An effective exploration of the commonplace.
A Christian poet searches for meaning in the mundane.
Byrne doesn’t name the painting he’s writing about in “Manet’s Genre Paintings of Everyday Light,” a poem in his new collection. “A heavy silence and late day light fill the room, a kitchen / table, with bowl and book, another day endured, the / patience of a shared elderly marriage.” Perhaps he’s thinking of “Interior at Arcachon,” in which a couple—she much older than he—laze at table by an open window, each looking off in different directions. But no matter the painting, Byrne captures the great impressionist’s concern with the mundane. Manet, perhaps more than any other modern master, painted the everyday, depicting not gods or generals, but instead just regular men and women “enduring” their workaday lives. The relentless grind of days is a topic to which Byrne returns again and again. “Balances” opens, “Most days there is a constant fight against / ourselves.” In “And Then It Was Saturday,” Byrne notes—or laments—“I’m ready, another Monday morning is on its way.” Later, in “It’s All Just Another Day,” he writes, “It’s time to shut down for today / Another day working on the fringe….Another day is waking, / so the other person can win.” The pressing question for Byrne is how do we instill the weight of days with meaning? Byrne tries a number of answers—love, family, work—but seems ultimately to find the most durable peace in religion. As the author reminds us early on, “God’s loving energy is around us everywhere.” Byrne is a Christian, and his faith infuses his verse. In “Grace Before We Had Begun,” he invokes Christ’s suffering: “A spear in side, / The last tear dried, / How could you betray a friend / Like twelve of those whom were chose / To see it till the end.” However, here we see his weakness, too: “twelve of those whom were chose” is either quite stilted or grammatically incorrect, and similar slip-ups appear occasionally in his verse. Yet they are not too distracting, and careful proofreading would clean them up quickly.
An effective exploration of the commonplace.Pub Date: Aug. 8, 2014
ISBN: 978-1490838212
Page Count: 82
Publisher: Westbow Press
Review Posted Online: Feb. 26, 2015
Kirkus Reviews Issue: April 1, 2015
Review Program: Kirkus Indie
PERSPECTIVES
An emotional, captivating Christian story in verse.
Heidish (A Misplaced Woman, 2016, etc.) presents an account of St. Francis of Assisi’s life, as told from his father’s perspective in poetic form.
St. Francis is known as a saint who believed in living the Gospel, gave sermons to birds, and tamed a wolf. Over the course of 84 poems, Heidish tells her own fictionalized version of the saint’s journey. In his youth, Francesco is an apprentice of his father, Pietro Bernardone, a fabric importer. The boy is a sensitive dreamer and nature lover who sees “natural holiness in every living thing.” As an adult, Francesco decides to pursue knighthood, but God warns him to “Go back, child / Serve the master.” He joins the Church of San Damiano, steals his father’s storeroom stock, and sells it to rebuild the church. His furious father chains him in the cellar, and the bishop orders Francesco to repay the debt. Afterward, father and son stop speaking to each other; Francesco becomes a healer of the sick and a proficient preacher. After failing to broker a peace agreement during wartime, Francesco falls into depression and resigns his church position. He retreats to the mountains and eventually dies; it’s only then that Pietro becomes a true follower of St. Francis: “You are the father now and I the son / learning still what it means to be a saint,” he says. Heidish’s decision to tell this story from Pietro’s perspective is what makes this oft-told legend seem fresh again. She uses superb similes and metaphors; for example, at different points, she writes that St. Francis had eyes like “lit wicks” and a spirit that “shone like a clean copper pot.” In another instance, she describes the Church of San Damiano as a place in which “walls crumbled / like stale dry bread.” Following the poems, the author also offers a thorough and engaging historical summary of the real life of St. Francis, which only adds further context and depth to the tale.
An emotional, captivating Christian story in verse.Pub Date: Feb. 23, 2018
ISBN: 978-0-9905262-1-6
Page Count: 146
Publisher: Dolan & Associates
Review Posted Online: April 19, 2018
Kirkus Reviews Issue: June 1, 2018
Review Program: Kirkus Indie
A poignant collection by a talented poet still in search of one defining voice.
A debut volume of poetry explores love and war.
Divided into four sections, Osaki’s book covers vast emotional territories. Section 1, entitled “Walking Back the Cat,” is a reflection on youthful relationships both familial and romantic. “Dying Arts,” the second part, is an examination of war and its brutal consequences. But sections three and four, named “Tradecraft” and “Best Evidence” respectively, do not appear to group poems by theme. The collection opens with “My Father Holding Squash,” one of Osaki’s strongest poems. It introduces the poet’s preoccupation with ephemera—particularly old photographs and letters. Here he describes a photo that is “several years old” of his father in his garden. Osaki muses that an invisible caption reads: “Look at this, you poetry-writing / jackass. Not everything I raise is useless!” The squash is described as “bearable fruit,” wryly hinting that the poet son is considered somewhat less bearable in his father’s eyes. Again, in the poem “Photograph,” Osaki is at his best, sensuously describing a shot of a young woman and the fleeting nature of that moment spent with her: “I know only that I was with her / in a room years ago, and that the sun filtering / into that room faded instantly upon striking the floor.” Wistful nostalgia gives way to violence in “Dying Arts.” Poems such as “Preserve” present a battleground dystopia: “Upturned graves and craters / to swim in when it rains. / Small children shake skulls / like rattles, while older ones carve rifles / out of bone.” Meanwhile, “Silver Star” considers the act of escorting the coffin of a dead soldier home, and “Gun Song” ruminates on owning a weapon to protect against home invasion. The language is more jagged here but powerfully unsettling nonetheless. The collection boasts a range of promising poetic voices, but they do not speak to one another, a common pitfall found in debuts. “Walking Back the Cat” is outstanding in its refined attention to detail; the sections following it read as though they have been produced by two or more other poets. Nevertheless, this is thoughtful, timely writing that demands further attention.
A poignant collection by a talented poet still in search of one defining voice.Pub Date: Jan. 31, 2018
ISBN: 978-1-984198-32-7
Page Count: 66
Publisher: CreateSpace
Review Posted Online: June 26, 2018
Review Program: Kirkus Indie
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