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• W2081728162 abstract "Reviewed by: A Glass of Milk to Kiss Goodnight Rebecca Morgan Frank (bio) Hadara Bar-Nadav . A Glass of Milk to Kiss Goodnight. Intuit House Poetry. Wislawa Szymborska said in her 1996 Nobel lecture, We're astonished, after all, by things that deviate from some well-known and universally acknowledged norm, from an obviousness we've grown accustomed to. Now the point is, there is no such obvious world. This deconstruction of the myth of the obvious world is central to Hadara Bar-Nadav's A Glass of Milk to Kiss Goodnight, in which a surreal and imaginative sensibility weds a twenty-first-century feminist consciousness in a series of poems held together by consistent urgency built through the escalation of distorted images. This debut collection, selected by Kim Addonizio as the winner of the Margie/IntuiT Poetry Series book prize, presents a relentless intensity and imaginative worlds that transcend established mythologies. Bar-Nadav offers up an alarmingly animated world where the body continually betrays the speaker not only by transforming into the grotesque but by forming a consciousness apart from the speaker or the surrounding characters of the poems. Transmutations of the body are simultaneously vehicles to other worlds and shackles to the world the speaker moves in. Sometimes the body is mutilated through diminishment, such as in God of Starvation, which begins The iron and rolling pin / Press me paper-thin, or even devoured, as in You Will Be Eaten: Chiggers snack on hipbones / making a moth of everything, / a girl with doily legs. Bar-Nadav moves between this insistent strain of depletion and a grotesque amplification of creation and nourishment. The monstrous expansion that occurs in The Last Gesture, which concludes The hand grew / as the sky grew, hand the size of wind / expanding [End Page 177] until it was no longer / my own, until the weight / buried me, fits into a poetic world where teeth are grown and lost as tongues—along with teeth and bones—are forged as both weapons and punishments. In Flood of Excess, the speaker is forced to suffer the grief of too many / fingers, too many teeth. Thus expansion and creation themselves also remove control and agency for the speaker. Yet there is a tautness to these poems that rests in the tension between this loss of control, as reflected in the separation and mutation of the body, and the constraints of controlled language and line that Bar-Nadav establishes. The physical body suffers more than surreal mutations in these poems: it suckles, it bleeds, it bruises, it has life done to it. Hunger, violation, and the consumption of the female body are repeated motifs. And yet this is not a confessional book tied merely to the female experience, or a collection of poems of victimization, for the voice that presents these images is demanding, authoritative, and uncompromising. The speaker does not ask to be saved: When the time comesMy back will not be turned. I'll throw down my gun,Refuse to march ten paces. I want to watch the bullet come,Skidding silver into skin. (Prayer (For an End)) Disembodied mouths inhabit many of these poems. In Deep-Sea Queen, the poem begins like a fairytale: My mother lives inside a teapot.The long windmill of her arms as she swims,Then lazes into the dead man's float. The poem moves to the speaker's desire to transform her mother into a 1940s starlet and then concludes with the final mutation of the mother as cold, almost lifeless, a mouth: Instead, her blue lips open / Like a bloated sea bass. / Her mouth, shrill flower whistling tin. Sometimes the mouths devour the speaker: I am drained by needy mouths that suck and pull (Rumination) and I feed / the tiny mouths / and atrophy (Long Divison). Other times, there is a hunger on the part of the speaker. In Sacrifice, the narrator says I could eat my weakest daughter, and yet the poem ends with Herculean strength: When a vine made of fire appeared / I tied the weakest daughter / to my waist, and climbed. Here are tireless narrators who are never defeated by the end of the poems, nor are..." @default.
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• W2081728162 date "2008-01-01" @default.
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• W2081728162 title "<i>A Glass of Milk to Kiss Goodnight</i> (review)" @default.
• W2081728162 doi "https://doi.org/10.1353/psg.0.0137" @default.
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