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Women's Poetry

Poems and Advice

ebook
1 of 1 copy available
1 of 1 copy available
Daisy Fried's third book of poetry is a book of unsettling, unsettled Americans. Fried finds her Americans everywhere, watching Henry Kissinger leave the Louvre, trapped on a Tiber bridge by a crowd of neo-fascist thugs, yearning outside a car detailing garage for a car lit underneath by neon lavender, riding the train with Princeton seniors who have been rejected by recession-bound Wall Street, feeding stray cats drunk at midnight, bitching at her mother in the labor room, shopping with wide-bodied hunters for deer-dismembering band saws in the world's largest supplier of seasonal camouflage, cursing her cell phone and husband at eighty-five miles an hour, hiding behind the mask of an advice column to proclaim Charles Bukowski "America's greatest poetess." There is nothing like this book, because there is nothing in it but America. No comfort, no consolation, no life-affirming pats on the back, no despair about God, no fear or acceptance of death, no irrational exuberance, no guilt or weariness, no misery even in the middle of personal and political crisis. Plenty of humor and plenty of seriousness. Joy. And a new kind of poetry: not nice, but rich and real.
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    • Library Journal

      April 15, 2013

      Whether she's portraying college seniors ("fifteen responsible children...in attitudes of surrender"), Kissinger "befuddled by culpability," an Iraq War protest in Rome ("naming ourselves/ Tourists Against the War"), the "poetess" as advice columnist, or her own pregnancy ("The worst discomforts... self-pity"), National Book Critics Circle Awards finalist Fried is devastatingly on target and funny in a way that can make you blanch.--BH

      Copyright 2013 Library Journal, LLC Used with permission.

    • Booklist

      March 15, 2013
      The title poem in Fried's dazzling new collection begins, I, too, dislike it. / However, and skips down a full stanza before completing the line and lavishly describing a tricked-out Nissan G-TR emerging from a garage. The patently masculine sight sparks an unexpected epiphany in the speaker about desire. In the potent blank space between However and the rush of the second stanza, Fried displays her gift for honoring hesitation not as a feminine quirk but more as a necessary pause before reaching enlightenment and sometimes even ecstasy. Fried (My Brother Is Getting Arrested Again, 2006), ponders pregnancy, Italian art, frustrating adjunct teaching jobs, Stendahl, and Henry Kissinger. The final section, Ask the Poetess: An Advice Column, shows wit and range worthy of playwright Wendy Wasserstein. In one of the most memorable exchanges, the oracular, tongue-in-cheek poetess is asked why people write confessional poetry when they could just go to church and confess. With irony and equanimity, she responds, In church confession, Catholics confess their sins. In confessional poetry, persons of all faiths confess how others have sinned against them. (Reprinted with permission of Booklist, copyright 2013, American Library Association.)

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  • English

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