Posts Categorized: What We’re Reading

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IR Staff Tells All: Poetry Collections We’re Thankful For

IR is proud to be partnering again with IU Press to award our second annual Blue Light Books Prize, this time to an outstanding poetry collection! Submissions open December 1, 2016. Check out our guidelines for more details.

In preparation for Blue Light Books submissions, IR staff and MFA students in the Indiana University Creative Writing Program reflected on the poetry collections they’re most thankful for this holiday season. Think of these collections as our blue lights through clouded times.

Be sure to check out our Blue Light Books Prize tableau on our Instagram page.

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IR Staff Tells All: Our Favorite Scary Stories

To celebrate Halloween, Indiana Review senior editors shared what stories, poems, and novels cause shivers down our spines. If you’re wanting a spooky evening in tonight, why not check out our recommendations?

Be sure, too, to see our literary Halloween tableau on our Instagram page.

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Micro-Review: Fred Moten’s The Little Edges

The Little Edges by Fred Moten (Wesleyan University Press, 2014)

Reviewed by Emily Corwin

Fred Moten once sat in my car. The roads were bad, first snowfall of the year in small town Ohio. I was nervous, feeling all this responsibility: young poet driving famed poet to campus for a workshop. Yet despite the snow, and my neurotic driving, Moten was at ease, hands folded in his lap across his winter coat. There was a warmth in his voice, an openness that made you glad to be in his presence. Read more…

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Microreview: Rickey Laurentiis’s Boy With Thorn

Boy with Thorn by Rickey Laurentiis (University of Pittsburgh Press, 2015)
Review by Yael Massen

Rickey Laurentiis’ debut poetry collection, Boy with Thorn, arrives at a crucial time in American literary discourse, engaging the oppressive and harmful legacies of our nation with clarity and intelligent critique. Laurentiis’ collection as a whole is honest in recognition of a life lived through violence. The reader must praise the landscapes in this collection, in the midst of its terror and destruction, for also producing Laurentiis’ lyric beauty and wisdom. His relentless recognition of personal truths and reclamation of narratives formerly silenced is an example of poetry at its highest form.

Introduced by Terrance Hayes, who selected the collection for the prestigious 2014 Cave Canem Poetry Prize, Boy with Thorn deliberately engages with crises and politics few contemporary poets discuss with self-reflection. In “I Saw I Dreamt Two Men,” the speaker addresses Anti-Homosexuality bills proposed in Nigeria and Uganda with the support of conservative American Christian organizations, as well as recognition of his own inaction: “I stayed with southern silence.”

The silence of the American South is the landscape that haunts this collection. A Louisiana native, Laurentiis returns to the environmental destruction and social dispossession in the wake of Hurricane Katrina in “No Ararat”: “I didn’t dream this. There was a storm. Then there wasn’t. The day after came like a hammer through glass. The sky shook off his clothes and it was brilliant. I tell you it was necessary: Violence had to preface such beauty.” Religion, like the south, is embedded into the geography of the collection. Laurentiis’ speaker is in constant conversation with an ideology that brought him to live “the way a problem lives, openly, so much / earth wanted [him] closed” (“Epitaph on a Stone”).

I was most moved by Laurentiis’ poems that directly engage rape culture, particularly “Black Iris,” a poem that transforms Georgia O’Keeffe’s eponymous painting. Here, Laurentiis crafts narratives and representations of sexuality complicated by violence and trauma formerly silenced and denied by the “Old Masters” (to quote “Vanitas with Negro Boy”) of art and white supremacy.

and when the iris shakes in it,
the lips of the flower shaping
to the thing that invades it, that will be
me, there, shaking, my voice shaking.
like the legs of the calf, who—out of fear?
out of duty? —is sitting by his dead
mother because what else will he do, what else has he?
Because a voice outside him makes him.

The title poem of the collection, “Boy with Thorn,” exemplifies Laurentiis’ technical mastery, social consciousness, fearsome imagination, and self-awareness. The ekphrastic poem transforms a first century B.C.E. bronze sculpture into a meditation on violence and a reclamation of the self in the aftermath of trauma:

                        11.
              I keep thinking of the thorn as
a marker, scrawler, what shapes the places both excused
              and forbidden
in his body’s swamp.

                             12.
          Violence thou shalt want. Violence thou shalt steal
and store inside.

The poem concludes on the speaker’s negotiation of these internalized, external voices.

                        28.
          This was his body, his body
finally his.

                        29.
          He shut the thorn up in his foot, and told his foot
Walk.

Laurentiis’ speaker pronounces a final resolve to inhabit his body as is, with an understanding of the pain that must be managed as a part of its existence.