Poetry Books

I love the way the poems in this book tell stories but then take you beyond the stories. The stories are just the first layer--behind them the strange echoes the words cast back on each other create a kind of glittering city-scape of the soul. I'm not sure I feel safe there, any more than I always feel safe in my own mind, but there's no end of places to explore--and I trust Lois Roma-Deeley as a guide. Over and over in this book, just as you encounter a beautiful land of the fantastic, you find your feet on the concrete of a truth you've been waiting much too long to hear. I'm so grateful for this voice in the wilderness--Write more! Write more!

After reading--and then hearing--Lois Roma-Deeley's poems from Rules of Hunger, I was amazed at how much this poet's work spoke about my own experiences. Further, the musicality of her language was pure joy. At a reading for the November 2004 Chicago Humanities Festival, where more than 100 people attended a panel presentation by national poets and artists, Roma-Deeley touched me with the depth and truth of her words, and mesmerized the audience with her dramatic yet honest performance. If you need poetry that you can return to again and again for both pleasure and meaning, buy this book.

Lois Roma-Deeley's first collection will make you hungry--for food (sausage, baked ziti, lobster bisque); for the past (dead relatives, lost friends, childhood memories); for love (both good and bad, won and lost); and for the entire sensuous world. Roma-Deeley serves up her poems with the master chef's attention to detail, as, for example, in these lines from "The Given," a poem about the speaker's father:

Plums should be cold,
in a glass bowl and offered to children.
This is his simple goodness,
the sword to keep on your back, the one
to scrape away the pain of not knowing
what we're to do next or how we're going to act.
And it's just like him to say this in a poem
I never intended to write. Like an amen
after a prayer, he invites you to stop
at the doorway of our past
and step into our home.

The world we step into in this collection gives pleasure because it holds the promise and excitement of the unfamiliar but is, at the same time, always recognizably our world. These accessible and memorable poems are written with an elegant simplicity; again and again, Roma-Deeley gives us not the fancy word but just the right word in poems that satisfy and remind us that to be human is to be hungry.

This collection of poems is a MUST-READ for all poetry lovers. Lois Roma-Deeley's mastery of the craft is beautifully conveyed in her vivid imagery which is powerful, witty, and tantalizing to the senses. I can't wait for her next book to come out!

After reading Lois Roma Deeley's "Rules of Hunger" I felt
transported back to a place in the memory of my childhood growing up in an Irish-Italian family in the suburbs of N.Y.C. At times I could feel the presence of the "ghosts" of my family coming back to life while reading her poems. She has the unique ability of being able to rekindle images of the past in your heart and soul. I would recommend this book to people of all ethnic backgrounds.

This is my first saga so I didn't really know what to expect from it but I found it to be enjoyable. I did have a little problem with remembering who was related to who because they go through so many generations of people with strange names and some of the people have the same name but I got used to it after a while.

The first part of the book quickly goes through a few generations of vikings until it gets to the forming of the Jomsvikings who are the best of the best viking warriors who fear nothing. During a feast many of them make an oath to go to Norway and help take the crown so thats what they go do then a major sea battle takes place. After the battle some of the Jomsviking get captured then they are killed one at a time after telling their captures that they don't fear death but welcome it, which is the best part of the book.

I was able to read through this book without much difficulty in a very short time and I would recommend it to anyone who like viking sagas about fearless warriors.

A common theme in the Nordic sagas, was the formation of a close-knit band of Vikings, sworn to a particular task or mission. The Jomsvikings were very likely the most legendary group such as this. They were a collection of elite mercenaries from all over the Scandinavian lands, mostly from Norway. Their mission, to restore a king to the throne of Norway. Those who would join the organization had to pass an initiation phase, where their skills and endurance as warriors were tested. They had a charter of rules and standing orders, and operated out of a fortified island base on Jomsborg. In short, they were very much an early medieval special-operations unit. Sadly, they were defeated in the final battle at the end of the saga, but not without causing grievous damage to the opposing force. Most telling, is the valiant conduct of the Jomsvikings taken prisoner at this battle, and their reversal of a truly dismal fate! This scene alone is Viking valor at its highest! Even in defeat, they acquire glory, with a good ending for all.

Saga mostly concentrating on an elite band of Viking warriors known as the JomsVikings. Packed with blood and gore from beginning to end, even human sacrifices to gain favor from the Gods in battle!

...And I'm not kidding.

The Saga of the Jomsvikings is just about the best of the sagas (with the exception of, perhaps, the Laxdale Saga). The action is almost non-stop (once you get through the ponderous, but still interesting, introduction) and gives you a good idea about what the 12th-14th century poets/historians thought 9th-10th century exploits.

The most compelling chapter is chapter 23 where, as stated in the introduction, the author shows us the face of "...Men who know how to die." There is no hyperbole in this statement, and has, I'm sure, been the impetus for more than one writer/screenwriter (insert sly sidewise look toward Michael Crighton here).

This was only my second saga so I can't really compare it to many others. Having said that, this is a great saga to start out with. As expressed in previous reviews, "The Testing of the Jom'svikings" (chapter 23) is a great example of courage; men are able to face death completely void of all apparent fear, without so much as flinching at the blow of the sword. The excitement level is kept up very well throughout the story, especially for a tale which jumps around from different generations and countries as much as this. I never felt bored or that the book was slow moving. In other words, there was no constant strain for action. While it may be hard for the novice of the saga to get used to the long range of generations throughout the story, once you become used to it it becomes natural and easlily comprehensible.
Although many have expressed in previous reviews that the introduction was boring, I found it not too different from many other critical introductions I have read before. The introduction does what it needs to do, gives the reader an insight and an overview of the material that is to be read.

Mary's insightfulness of what it's like to be a woman, a human being, come through in simple, yet awe-inspiring words. Her poems moved me more than anything has in a long time. I want other women to discover the beauty and wisdom of Mary Waters. She's amazing!...

The poems in "Sandpaper Blankets" are so easy to read yet full of images and feeling. You can read them several times and find more meaning each time. My most favorite are "Moonlight" and "Ain't No Sunshine". I would recommend this for everyone!

Reading these poems is like staring into still water -- reflective, yet deep. While reading, I found myself saying, "Yes, I've felt that too!" Ms. Waters' poetry gives us language for the difficult and wonderous thing we call life. If I have to choose a favorite poem, it would be "Meetings." It should be required reading for anyone under the age of 30 -- and for most of us beyond...

Many of the poems in Sandpaper Blankets spoke directly to my heart and soul. The insight that Mary offers through her poems is exceptional yet common thereby helping us to open our eyes a bit wider to the world. I am eager to share this treasure with friends.

This is a rich, warm, spiritual book of poems which, while quite personal to Ms. Waters, wonderfully reach out and touch all her readers. The poems are fairly direct, almost narrative, not too complex, and filled with sweet phrases which could resonate in your head all day. I enjoy poetry and this collection is one of those filled with "thought of the day" type of poems. Fans of the love poems of e e cummings (I am!) and the stories of Brian Andreas should truly enjoy the insights of Ms. Waters. Ms. Waters may have a woman's perspective, but she relates it in a way which should appeal to all. My favorite poem is "No Question Asked."ÿ

W.H. Auden is truly, as noted by editor Edward Mendelson, a twentieth century poet. Auden had a firm grasp on the essence of contemporary politics and culture and possessed a knack for bringing a reader into his world. This selection spans the entire body of Auden's work, and contains several early poems which are hard to find, as Auden refused to have them republished in later collections of his work. It is a good introduction to Auden, but I recommend reading it along with Collected Shorter Poems 1927-1957, as that contains the revisions that Auden made to his poems over time, in his fervor for complete honesty in his work.

While Mendelson's selection is well put together and a good representation of Auden's early craft, the revised poems are generally much stronger (though often bleaker in tone). Many changes, such as the famous revision of September 1, 1939 to read "we must love one another and die" rather than "we must love one or die" were made to reflect the author's shifting attitudes. However, other poems improve significantly with Auden's editing, and if this book is the only Auden you read, you'll miss out on the full depth of his power as a poet.

Auden wrote much poetry in many different forms. He was a very learned poet with strong connection to English poetic tradition. Among his most known poems are those which are also my favorites,"Musee des Beaux Arts", "In Memory of W. B. Yeats" and "September 1,1939". The concluding stanza of this last poem gives a good idea of the special colloquial power of Auden's rhyme and rhythm.

"Defenceless under the night
Our world in stupor lies;
Yet, dotted everywhere,
Ironic points of light
Flash out wherever the Just
Exchange their messages:
May I, composed like them
Of Eros and of dust,
Beleaguered by the same
Negation and despair,
Show an affirming flame.

In that poem also contains the great stanza, " Lest we should see we are/ Lost in a dark haunted wood/ Children afraid of the night/ Who have never been happy or good."
Auden was too a considerable critic of Literature, an outstanding Anthologist, a man-of- letters in a true sense.
I do not know the range of his poetry well, but the anthology pieces are filled with memorable lines.
Edward Mendelson, a well- known Auden scholar, in this work presents a number of original poems which Auden as he was wont to do improved for the worse.

For many of us,the poems that we read in childhood and adolescence are those that stick with us the most. When I was fifteen, I bought this volume and promptly fell in love with Auden's poetry. His work showed a restlessness with the social and political state of his world, and I found that I could connect with it both intellectually and emotionally. To this day, I can revisit this book's pages feeling like I am visiting a childhood friend. Auden expressed some feelings I shared with him, and I was moved by his ability to express them better than I ever could: with frankness, wit, and grace. A must for any literary enthusiast (or any curious fifteen-year-old, for that matter).

The poetry is splendid -- Auden is a brilliant, sensitive, musical and entertaining writer -- and the selection is fairly representative. Mendelson prefers Auden's later poems to his earlier ones, so the twee middle-aged sequences "Bucolics" and "Horae Canonicae" are included complete, while most of "Twelve Songs" (which has some terrific love poems like "Fish in the unruffled lakes", "Funeral Blues" and "Tell me the truth about love") is not. Still, there is enough in here, esp. in the first two-thirds of the book, to give you a fair enough taste of Auden's verse to entice you to buy his Collected Poems.

(You'll still need the Selected; it has a couple of good poems that Auden decided not to republish, and superior versions of some early poems.)

I can do little more than echo the other reviewers here. This is all a 'selected poems' shoud be: introductory and selective. Yes, "Funeral Blues" is missing. But no one can complain about what is here, which includes "In Time of War", the great sonnet sequence; "The Quest", another long sequence; and the entirety of THE SEA AND THE MIRROR, which is based on Shakespeare's THE TEMPEST. If you are, however, only interested in his love poems, I'd have to steer you toward TELL ME THE TRUTH ABOUT LOVE, a nice little chapbook containing only those.

My own personal experience with this book may be relevant. It has served to introduce me to one of the finest poets of the last century and sparked a desire to read THE COLLECTED POEMS, also edited by Mendelson, to see how Auden re-wrote thirty of the brilliant poems here included. I'm continuing on my voyage; hope you are starting on yours.

I recently bought this on a whim at the book store and was pleased at it turning out to be one of my best purchases. Instantly one of my favorites, Amichai writes with the perfect mixture of narrative and metaphor, balancing his poetry perfectly on the line between clarity and obscurity. His metaphors are original, concise, and leave you thinking. At the same time, Amichai's poetry is not inaccesible. His writing is simple enough to grasp the first time through, but also complex enough for you to peel away the layers of meaning as you read again and again.

While some of the poetry is political or cultural in nature (Amichai is an Israeli and Jew), don't let that discourage you from thinking it doesn't have any application to your life. Like Chaim Potok, Amichai breathes a life into his words that enlightens you toward life's simplicities, regardless of your background. Top notch stuff.

I have other translations of Amichai's poetry but love this book, translated by Chana Bloch and Stephen Mitchell, the best.

To read Yehuda Amichai in English is to sojourn, yes, in Jerusalem, more, in Amichai's denuded heart -- but to see it all with a crick in my neck, able only to look out the left-hand side of the bus. In this translation of his Selected Poetry, the scenes pass: stone and sand architecture; crowds of workers, soldiers, family members; heaped goods and quiet meals; long loves and fleeting notice. Reading these poems is to sustain explosions of new sense memories, to be consumed with fresh details -- reading the poems in English is to know they harbor still more beauty. Not knowing Hebrew, I can't turn my head to see what incomparable, heartbreaking balance of truth and wish lies out that window.

Amichai's voice is calm, colloquial, casual. The way one might say, "Pardon me, you've dropped your pen," Amichai will say, "And in the big cities, protestors blocked the roads like / a blocked heart, whose master will die..."

So I wonder what I'm not hearing. How must one who makes easy fantastical connections, who sets single nouns and entire memory constructs equal, also play with homonym, rhythm, internal rhyme, with invented words, cousins of ancient words? This is, after all, Amichai--a poet credited with revivification, with re-knitting the bones of Hebrew vernacular. His poetry gave a country a new map into its old language.

Here's Amichai: "At the end of summer I breathe this air / that is burnt and pained. My thoughts have / the stillness of many closed books: / many crowded books, with most of their pages / stuck together like eyelids in the morning."

And Amichai, to a woman: "You had a laughter of grapes: / many round green laughs. / Your body is full of lizards. / All of them love the sun."

In these poems, the acts of watching and describing become one intention, one result. Amichai systematizes little, responds much; sees, and does not sneer; judges, not to dispose but to know. His poems are not slices of life, but core samples.

If you want to learn something about how to love a city and yet not pretend its horrors do not exist, how to cherish a person, yet not omit flawed relationship, read Yehuda Amichai. If you want to read not a declaration of love, but a proof of love, read Amichai. For to observe without flinching, whatever terrors of truth or beauty may appear, and remain steadfast, observing, is a proof of love. "I see everything about you," Amichai says to the city, the seasons, the soldiers, his woman, his father, his God, "and here I am still."

Amichai is not frightened away. He thereby makes it safe for us to look on a terrible world complete.

I suspect that in Hebrew, the one difficulty of these poems would dissipate. In weight, in flavor, the poems are like a rare, nutritive honey -- not a condiment but a dietary staple, heavy, dependable. I suspect that in Hebrew the tone dances, that the phrases don't share a single, though delicious, viscosity, as in English. But who am I to complain of manna?

What survives translation is not the full tour, not a map to Hebrew vernacular. What survives is a map through Amichai. We can navigate by these lines and points, read the poems like the knots of a safety rope -- here -- we descend into the technical truths of war, of loss, and of heretofore unimaginable love.

Amichai is the most popular and beloved poet of Israel. His language is at once understandable , and clear, deep and suggestive. He learned from American poetry the colloquial voice and he speaks to his reader in a kind of down-to- earth language which is nonetheless rich with knowledge of Hebrew traditional texts, most prominently the Bible. Amichai writes of the great themes , love and war, and he writes out of his own experience. He writes with reverence and irony both in relation to the people close to him and to the land of Israel. His connection with Jerusalem is special and he presents the many layers of its complex history and identity through his own personal daily meanderings in the city.
He is a humane and profound poetry who while confronting the most painful realities nonetheless presents a voice strongly affirming the value of life.

I was first introduced to Amichai's poetry through this collection. He is a first-rate poet in any language; the translations by Chana Block and Stephen Mitchell are wonderful.

Amichai was born in Germany in 1924, but immigrated to Israel as a boy of 12; he began writing poetry early, especially in the exuberant atmosphere of the newly proclaimed Israel in 1948. Amichai continued to write poetry throughout the twentieth century (he died in 2000), winning national and international prizes and recognition as one of the greatest poets of the age, not only of Hebrew, but internationally. As modern Hebrew is a language still emerging from the shadows of its ancient-but-still-used predecessor, Amichai was a major figure in developing the poetic nuances of the language that helped to expand the limits of meaning in words and usage.

Amichai's poetry represented here spans most of his productive life. The first part includes poems from his collections from 1955 to 1968, from the birth of the state of Israel to the aftermath of the 1967 war. One poem, 'Jerusalem 1967', is a long and majestic play on emotions and images -- Jerusalem here is likened to Sodom and Pompeii, as well as revered as the universal city that it is; Amichai's personal experience floods the historical events he witnessed with emotion that conjures up ancient memories.

The second part includes poems from writings 1971 to 1985. The maturity of Amichai's passions and writing style match the development of world affairs, into a post-war situation, with tentative amblings toward peace. Still there are tragedies and problems, and these make appearances in Amichai's poems. The weariness of the modern world is highlighted in his poem, 'Jerusalem is full of used Jews' -- worn out by history, Amichai wrote. Still there are hopeful signs, as love in its many faces is always the centre of Amichai's world. Amichai is a patriot of sorts, in that he celebrates the place and culture of Israel, but is not blind to the problems there, and by no means a 'death to the enemy' kind of writer -- a bit ironic, given that his poetry is popular among the soldier-citizenry of Israel.

Some poems have decided biblical and religious connections, even if they are not religious in tone or direct meaning. 'Jacob and the Angel' obviously takes its title from the early story in Genesis, but beyond that, the context and content is very different. Some show the international character of modern Israeli experience. Many poems, while decidedly Amichai, could have been written anywhere, and the situations and feelings of love are universal.

Stunning poetry!

She Taught Me To Eat Artichokes is a book for everyone. The message of the way friendships unfold is beautiful. It is short, but powerful.

Friendships begin in many ways; sometimes they can simmer very slowly over a long period of time. This book is about a friendship that suddenly blossoms. The main character lives next to an older woman and while they exchange pleasantries from time to time, there is no real warmth in the relationship. She also shops for vegetables on a regular basis but turns up her nose at artichokes, considering them to be prickly and unpleasant.
All that changes when the son of the main character is in an auto accident and spends weeks in the hospital. The elderly woman comes to stay with her and their friendship develops rapidly. The comfort level increases and soon, the elderly woman invites her over and shows her the proper way to eat artichokes. She finds that she likes them, which is a metaphor for the value of friends. Since they are different people, they can show us things that we heretofore had ignored. As often as not, we find them pleasurable, quickly realizing how much we had missed by not having the relationship earlier.
We go through many stages in life, but one constant is the value of friends. Without them, the world is a very empty place, so when the time comes, realize that a friend is a valuable thing, even if it is necessary to eat an artichoke with them.

There is such a beautiful marriage between the words and illustrations of this book. A treasure for any friend.

This book is a wonderful gift to give to someone you love. It is beautifully written and illustrated. The story, a journey about discovering the "heart of friendship", is very touching.

I was given this book by a special friend and found it to be a great gift for me to give others. Anyone who has been there for you needs to receive a copy. Sometimes the best gifts are ones like this that can be re-read and may mean something new as life and friendships change. I no longer see the friend who gave me mine, but feel close to her each time I read it. My only problem is remembering to whom I have given copies of the book. Solution: I now write in the back of my book the persons name/date/event so that I don't give the same book twice! I also do this with another great gift book called "Hope for the Flowers".

This book lets us see how to be fully alive.I was especaly captivated by all the authers bieng WOMEN. A BOOK YOU MUST READ AND REFLECT ON.ALSO A USEFULL TOOL FOR RESEARCH.

I enjoyed this book so much I bought 2 more to give to friends as gifts.

For anyone who enjoys nature, poetry, women's prose, or all of these - you need this book! Guaranteed to have something in it that will touch your heart.

Naturalists is perhaps too narrow a word choice for the one hundred contributors to this anthology; I suspect only a few would use that word when describing themselves. Their ages span more than a century, so the style of writing varies widely, but each has something quite special to share with a reader looking for a few moments of luminousness or quiet revelation in the midst of a busy day.
Here's one of my favorite bits, and I'm paraphrasing: Men climb mountains to conquer them; women climb mountains to go deeper within themselves, to feel a oneness with nature. When I read that, I lifted my eyes from the page, stared at the horizon and thought how much more poetic and truthful that is than the usual Mars/Venus type of comparison.
Contributors range from regionalist Sarah Orne Jewett to internationalist Diane Ackerman; there are African Americans, Native Americans, Jews, Catholics, mystics, and poets among this mix, with plenty of boundary crossing.
Very lovely. Not, I believe, a book meant to be read cover to cover. Rather, let it rest beside your favorite reading chair or at your bedside, and read a few entries now and then at random. I think you'll be charmed, as I was.

I've assigned Lorraine Anderson's Sisters of the Earth in my nature writing and literature classes since it first came out. I teach at a co-ed college and both male as well as female students identify with its strong sense of place as well as its sincere approach to concerns regarding nature. In course reviews, they tell me, "Assign this book again!" The eloquence of both prose and poetry in this book is as startling as the heron landing just now on the shore of my Mississippi River house as I write this review. In short, this collection touches the soul.

I found a lot more than I'd expected in this book. The editor obviously put a lot of thought into her selection of authors and passages from their works. It seemed to me as if these were the passages I would have marked for rereading had I read those works myself. Pretty much every selection struck me as being beautifully inspirational, poetic, or otherwise moving. I'd forgotten how much simply reading about nature can do to lift and heal the spirit. I also learned a lot: I was unaware that so many women have been writing about nature for so many years -- and it was sobering to realize that much of what the earlier authors wrote about no longer exists in our world today.

The author bios themselves make for fascinating reading. (You can't help but wonder how your own life would be summed up in a paragraph or two.) And of course, as I'd expect from any good anthology, this collection inspired me to add quite a few items to my "to-read" list. The nearly 40-page bibliography includes very helpful summaries, and lists not just the sources of this anthology's selections but many other works as well.

Whatever you might expect from Sisters of the Earth, I doubt you'll be disappointed. There should be something in it for everyone -- and it's a pretty book that would make a great gift.

Alma Schindler was a piece of work who went on to inspire a number of others, notably the first movement of husband Gustav Mahler's sixth symphony and lover Oskar Koskoschka's most famous painting, Bride of the Wind. After Mahler's death and her fling with Kokoschka, Alma married architect Walter Gropius, founder of the Bauhaus. After their divorce, she married novelist and playwright Franz Werfel - an unjustly neglected figure best known today for the novel The Song of Bernadette and the play Jacobowsky and the Colonel - who called Alma "one of the very few magical women who exist."

She continues to inspire, as demonstrated by "Counterpoint," a 10-poem sequence that forms the second part of Skin, April Lindner's debut volume of verse. "Counterpoint" is subtitled "Poems on the Life of Alma Mahler Werfel" and follows Alma from her childhood visits to her father's studio (Emile Schindler was a well-known landscape painter), when she would "practice keeping still... to watch his hand propel the brush," up to 1964 in New York City, when she finds that death "is handsome /... and he, too, needs me /... his whispered proposal... clumsy / but ardent..." The sequence ends with a line so good it would be as wrong to quote it as to tell whodunit in a murder mystery.

Skin is the 11th winner of the Walt McDonald First-Book Poetry Prize, awarded by Texas Tech University Press and named in honor of a former TTUP poetry editor. Lindner, who teaches English at St. Joseph's University, seems well-deserving. She has a sharp eye for detail: "daylight, rationed by Venetian slats," "the white moth of a kiss / blown from a boy's plump lips," "burnt / sienna moustache," "milky way of red freckles" - these are picked at random from just two pages. She also has a well-nigh flawless ear for lyrical phrases graced by the uneven rhythm extolled by the French symbolist Paul Verlaine.

Occasionally, especially in the opening section, she gets a little too personal for my taste. Having no wish to be a voyeur, even if invited, I found the intimacies related in "Condom," for instance, off-putting.

But at her best, what she says of contemporary realist painter William Bailey - "once he's got us, he makes us see / deeper than we'd choose" - is also true of Lindner. The last stanza of "Moving" - from one residence to another - transmits a subtly disturbing frisson:

Last, we'll pierce the wall

to hang the faces we call ours:

bride face, groom face, infant face,

their interiors locked and off-limits,

like rooms we lived in, houses ago.

Robert Fink, the man who chose Skin for publication, has written an introduction that offers a "close reading" of Lindner's texts that borders on parody. Oh well. For those who like that sort of thing, that's the sort of thing they like. Read it, if you must, but do yourself and Lindner a favor and read the poems first.

What is it like to live and work and love from inside a woman's skin? I'm a man so I can never know for sure, but SKIN paints such vivid word pictures that it knocked me out of my own skin for a while, and into the author's. These poems are powerful.

I had the chance to hear this author read, and was moved to buy her book, which now is one of my new favorite poetry collections. Her work is sensuous, full of vibrant metaphor and imagery. Some poems are in regular meter, but most are in very musical free verse. The poems stand well alone, but together they read almost novelistically. The book is split into three sections: the first describes a woman's complex relationship with her husband and children, and the third deals mostly with sexual and romantic love. The middle section is a narrative sequence on the life of Alma Mahler, whose curious marital and sexual adventures play nicely against those of the first person narrator in the rest of the book. Best of all, these poems are immediately accessible, and yet yield up more on subsequent rereadings.

Dr. Lindner is my professor at my college, and I knew that she wrote poetry, but I had never read it. Her poetry is phenomenal. It speaks to the heart, the soul, and the mind.

Until a friend recently sent me a copy of Skin, I thought I had left my poetry-reading days back in college along with things like an all-pizza diet, Macroeconomics, and most of my hair.

As it was, the book sat on the shelf for weeks before I cracked it open to take a look. I'd like to be able to put into words just what sort of effect the contents had on me, but now I have an entirely new appreciation of just how limited my expressive talents really are.

Let's just say that, ever since, I have been searching everywhere for more writing by April Lindner. Join me -- you won't regret it.

Winner of the 2004 Blue Lynx Prize for Poetry, The Sleep Accusations is an eclectic, intimate, and highly recommended collection of the greatest poetry from the intriguing and intuitive works by Randall Watson. A Dog's Life: I love the morning rain./I am like a dog in the street/with my ears up./It's as if I've been out all night/and I am hungry./I can hear the one who feeds me/calling me home.

Winner of the 2004 Blue Lynx Prize for Poetry, The Sleep Accusations is an eclectic, intimate, and highly recommended collection of the greatest poetry from the intriguing and intuitive works by Randall Watson. A Dog's Life: I love the morning rain./I am like a dog in the street/with my ears up./It's as if I've been out all night/and I am hungry./I can hear the one who feeds me/calling me home.

Winner of the 2004 Blue Lynx Prize for Poetry, The Sleep Accusations is an eclectic, intimate, and highly recommended collection of the greatest poetry from the intriguing and intuitive works by Randall Watson. A Dog's Life: I love the morning rain./I am like a dog in the street/with my ears up./It's as if I've been out all night/and I am hungry./I can hear the one who feeds me/calling me home.

Winner of the 2004 Blue Lynx Prize for Poetry, The Sleep Accusations is an eclectic, intimate, and highly recommended collection of the greatest poetry from the intriguing and intuitive works by Randall Watson. A Dog's Life: I love the morning rain./I am like a dog in the street/with my ears up./It's as if I've been out all night/and I am hungry./I can hear the one who feeds me/calling me home.

Winner of the 2004 Blue Lynx Prize for Poetry, The Sleep Accusations is an eclectic, intimate, and highly recommended collection of the greatest poetry from the intriguing and intuitive works by Randall Watson. A Dog's Life: I love the morning rain./I am like a dog in the street/with my ears up./It's as if I've been out all night/and I am hungry./I can hear the one who feeds me/calling me home.

Were Solo Crossing to be one long whine about divorce angst, it would not necessarily be worth reading. What does shine in this book is the author's distinct ability to distill human experience, which in her case does include a painful divorce, into images that are right and relevant for all sorts of readers. Here is another wonderful example why poetry is reaching so many new readers.

On reading her poems my heart resonated. At some I cried. I did not want to, but she plucked that exact string and I was transported instantaneously into the feelings of my own divorce. What more can you ask for in an author?

The strength of these poems goes far beyond the all-too-human experience of divorce and betrayal. Here is a rich poetic voice, fresh in metaphor (from Crocuses: Synchronized/as infant birds straining gullets), and fearless in romantic honesty (from Airborne: My mother, 72,/turns to the handsome man seated beside/her on the plane./I bet you were hoping to sit next to/an attractive young blonde./Smiling, he replies, I am.) These poems are ringingly lyrical and unselfconscious, sometimes a bit spare and clipped, but always redeemed by their music.

Solo Crossing is the original book by Split Verse editor Meg Campbell. Here poems touch on all topics, though many are framed by Campbell's divorce. "Ode to a Single Mother" and "Leavetaking" address Campbell's experiences in single motherhood. Many poems on childhood as well. These poems are stunning in their portrayal of a woman's life.

Ms. Campbell's imagery is evocative and yet accessible. While maintaining a distinctly imaginative voice throughout the collection, the poems are etched deeply in a life which could be anyone's. Whether young or old, in love or out, we all know loss, and this poet tells a story which is important to hear.